










V9- 






<2^^ . 










'-^o^ 



4 o 



• ^v 




0- 



* -.0 '^^ 








o 









<{5°^ 























% ""^ ,\^ "^-^ '■' ,f^ 










W<* .<^^ \ 'J^^^.* ^ '^^ "^ -: 














■^' ^ 















.0 



.^^ 




The Girl and The Pennant 

A BASE-BALL COMEDY 



IN THREE ACTS 



BY 

RIDA JOHNSON YOUNG 



CoPYBiGHT, 1917, By Samuel Fbench 



ALL RIGHTS RESERVED 



CAUTION: Professionals and amateurs are hereby warned 
that " THE GIRL AND THE PENNANT ", being fully 
protected under the copyright laws of the United States, 
is subject to a royalty, and anyone presenting the play 
without the consent of the owner or his authorized agents 
will be liable to the penalties by law provided. Applica- 
tion for amateur acting rights must be made to Samuel 
French, 28-30 West 38th Street, New York. Application 
for the professional acting rights must be made to the 
American Play Company, 33 West 42nd Street, New 
York. 



New Yobk 
SAMUEL FRENCH 

PUBLISHER 

28-30 West 38th STREET 



LONDOIT 

SAMUEL FRENCH, Ltd. 

26 Southampton Stbekt 

STRAND 






Especial notice should be taken that the possession 
of this book without a valid contract for production 
first having been obtained from the publisher, confejs 
no right or license to professionals or amateurs to 
produce the piay publicly or in private for gain or 
charity. 

In its present form this plf-y is dedicated to the 
reading public only, and no performance of it may be 
given, except by special arrangement vrith Samuel 
French. 

SECTION 28. — That any person v/ho wilfully or for 
profit shall infringe any copyright secured by this act, 
or who shall knovv^ingly ajid v/ilfuliy aid or abet such 
infringment, shall be deemed guilty of a misdemeanor, 
and upon conviction thereof shall be punished by im- 
prisonment for not exceeding one year, or by a fine of 
not less than one hundred dollars nor more than one 
thousand dollars, or both, in the discretion of the 
court. Act of March 4, 1909. 




•CI.D 48298 

NOV 12 1917 



TPcE GIRL AND THE PENNANT 



CAST 



Copley Reeves 

Punch Reeves. .His brother, and star pitcher on the 

" Eagles " 
Henry Weeland. . . .Own^r of a rival team, the 

" Hornets " 

John Bohannan Manager of the "Eagles" 

Skeets Marvin A third base-man 

Pitman An old pitcher 

Chief Wayne An Indian catcher 

Sam The trainer 

McCracken A player 

Al Warren A reporter 

MoNA Fitzgerald Otvner of the " Eagles " 

Alice Tilton 
Miss Squibbs 

3 



THE GIRL AND THE PENNANT 



Produced by Selwyn & Company, at 

The Lyric Theater, New York, 

October 23, 1913 

ORIGINAL CAST 

Copley Reeves William Coiirtcnay 

Punch Reeves Calvin Thomas 

Henry Welland Malcolm Williams 

John Bohannan Tiilly Marshall 

Skeets Marvin William Roselle 

Pitman Wallace Ozven 

Chief Wayne Louis Morrell 

Sam George W. Day 

McCracken T. Morse Koiipal 

Al Warren Ralph Morgan 

A Colored " Fan " Jack Johnson, Jr. 

Tom MacNish Walter A. Mnlvihill 

Joe Allen Robert Bott 

Tim Murphy Edgar Hill 

Josh Biggers Harry D. Southard 

Harry Doyle James Reed 

Cy Dobb Jack Gilchrist 

Fred Terkle Charles Sievert 

Hans Flagner Tim Collins 

Otto Knafe Arthur Moore 

Cosy Jolan Martin Roitiller 

Mona Fitzgerald Florence Reed 

Alice Tilton Lola Fisher 

Miss Squibbs Marion Ballon 

Florence Ethel Stannard 

Maid Florence Deshon 

Jewel Brite 



Mildred James 
Elizabeth Donnell 
Kathe Quanz 



Girl friends of Mona: 



The Girl and The Pennant 



ACT I 



Scene: Training Grounds of The Eagles of the 
National Base-Ball League, in Sligo, Texas. 

At extreme hack of the stage is a high board 
fence running across stage. The fence is old, 
and, in one place, near center, some boards have 
been taken out and members of the team, nezvs- 
paper men and friends, have made this a con- 
venient luay of entering. Along the fence there 
are nails at irregular intervals and on these the 
men hang their Makinaivs, szveaters, etc. 

About five feet from the fence, facing the 
audience, is a bench. At one end of bench is a 
large tin ivater-cooler. Beyond this tvater- 
cooler to the r. is a rude pine table with a bench 
back of if for newspaper men and plwtog- 
raphers. At l. of players' bench is a large 
trunk. 

Stage vacant ivhen curtain rises. One hears 
someone whistling outside fence, and in a mo- 
ment Sam, the negro trainer, comes through 
fence. 

Sam. (Singing) "All aboard! All aboard! 
All aboard for Alabam!" (He makes a double 
shuffle across stage, going over to trunk, and un- 
locks it. Whistles as he takes out masks, bats, 
sweaters, etc. Each time he takes out a bat he gives 
it a twirl at imaginary ball. He places a number of 
spiked shoes in front of bench) 

5 



6 THE GIRL AND THE PENNANT 

(Al Warren, a young nezvspaper man, appears at 
fence opening. He is quite young and ahvays 
hustling. Doesn't zvant any item of nezvs to get 
by him. Ahvays sleutJiing about for tips.) 

Warren. Good morning, Sam. 

Sam. Yas, sah ! It is a good mornin', but I got a 
feelin' you'se going to spile it. 

Warren. Spoil it? How's that? 

Sam. Well, Mistah Warren, sah, whenever you 
comes a early-birdin' aroun' dis yere Park, I cer- 
tainly does git that early wurrm feelin'. 

Warren. Bright and early 's my middle name. 

Sam. Ha! Ha! Bright and Early. Dat's sure 
so. I been in base-ball ten or nine years now. and 
I never seen no repotah but you show up on de 
groun's befo' de team. You certainly is undefatible. 

Warren. Couldn't miss my little morning gab- 
fest with you, Sam. 

Sam. Now you jes' keep away from me, man. 
I'm going ter keep my mouf shet. Look what you 
done to me las' week ! 

Warren. I ? 

Sam. You go and wurrms it out of me dat 
Bohannan's dissipinted in the new Souf Paw, and 
den you prints it in de papah dat he's done gone 
give ten thousan' dollars f er a lemon ! 

Warren, Oh, I could see that myself. T wasn't 
what you said. Why, McCracken's got a streak of 
yellow wide as the Mississippi. 

Sam. Sure he is, but you ain't got to blatt it out, 
is you? 

Warren. The public's got a right to know. 

Sam. De public ain't got no right to know 
niiffin'. Every team's a winner in de papahs befo' de 
season opens. Who's goin' ter root fer a team 
what's knocked by it's own home sheet ? You'se got 
a lot to learn. 



THE GIRL AND THE PENNANT 7 

Warren. Well, here's where I'm learnmg it. 
You know base-ball from Pop Anson to John 
McGraw. 

Sam. (Griiuiing) I does dat. 

Warren. Between you and me, Sam, don't you 
think W^ayne's gone off some? 

Sam. 'Tween you and me and de newspapahs ! 
Go long now, man, I ain't goin' ter talk to you. I'se 
got my work to do. (Sings) All aboard! All 
aboard for Alabam ! 

Warren. I guess Bohannan don't cotton much 
to this idea of a woman owner. 

Sam. Cotton to it! Why, he's so sore, you can't 
tech him. Leastways, T reckon he's sore — I dunno. 
You lemme alone. 

Warren. They say he's got a grouch on all 
women since his wife ran off with Biff Forbes. 

Sam. Dey say right den. Mr. Bohannan ain't got 
no use for no woman, nohow, and as for working 
for a lady owner, it's jes' got him itchy all over! 
But I ain't got nuffm' to say about it, not a word ! 

Warren. Miss Fitzgerald's coming down to day. 

Sam. What, de lady owner? LTm-hm ! Reckon 
dat's what dat ar private car's doing down here. 

Warren. {Starting up) Private car? Where? 

Sam. Why, ain't you see it? Must a come in 
some time las' night. Side-tracked down by de 
freight yard. 

Warren. That's funny — I didn't notice it ! So 
long. (Makes a hasty exit through fence) 

Sam. Well, thank de Lord for dat ar private car ! 

Ice-man. (At fence) Ice! (He dumps piece 
of ice in through fence. To Sam) Hi, feller! 
Game this afternoon? 

Sam. I heard tell the regulers was goin' to play 
the recruits for some hospital or sompin'. 

IcE-i\iAN. Look-a yere. The ice won't cost you 
nothin' if I don't have to come in bv the rate. 



8 THE GIRL AND THE PENNANT 

Sam. Well, you jes' linger 'long by de fence 
'bout three o'clock, and I'll see what I kin do. 

Ice-man. All righty, I'm on. {He disappears 
from fence) 

Sam. (Takes out note-book and zvrites) Ice. 
Ten cents. (Takes a tin box of change from trunk 
and, taking ten cents from it, puts it in his pocket. 
As he does so, Bohannan the manager enters from 
field) 

(Bohannan is a thick-set man of about forty-five. 
Hair slightly gray. Very autocratic.) 

Bohannan. Sam? 

Sam. (Starting and almost upsetting the cash 
box) Eh? Oh, yes, Mistah Bohannan, sah. 

BoHANNAH. You're down pretty early. 

Sam. Bright and early 's my middle name. 

Bohannan. What's the matter with you, trying 
to get fresh ? 

Sam. Fresh? I thought that was a very comical 
sayin'. 

Bohannan. I want you to hike back to the hotel. 
Tell Forbes, the photographer, I want some pictures 
taken — Regulars, recruits, all of 'em in a group, in 
front of the hotel. Understand? 

Sam. Yes, sah. 

Bohani-jan. I don't want the team here until 
half -past ten. 

Sam. (Surprised) Not till haf pas'? 

Bohannan. Not till half-past ten, you heard 
me ! Tell the Captain that, and don't give him any 
further information, you understand? 

Sam. Yes, sah, I won't tell him you all wants de 
Park to yo'self. 

Bohannan. Who said I wanted the Park to my- 
self? 

Sam. You ain't said it — (He goes toward fence) 



THE GIRL AND THE PENNANT 9 

But what is you going to do here, Mr. Bohannan? 

BoHANNAN. I'm going to tie a tin can to you in a 
minute. 

Sam. No you ain't, sah. {He chuckles and slips 
hastily through fence. In a moment Sam pokes his 
head in again through fence) I reckon de gemmem 
you's waiting" fer, is comin' up de track now. He's 
a large, stout 

(BoiiANNAN picks up a hall and fires it at Sam's 
head. Sam ducks and disappears. Bohannan 
takes off his heavy makinaw. Hangs it on 
fence. Goes to r. as Henry Welland appears 
at opening in fence. Welland is a large, stout, 
jovial-looking man of about fifty. His face 
shines with seeming good-zvill to everybody. 
Good humor absolutely unshakable. He hasn't 
a scruple in the zvorld and hasn't much respect 
for any one ivho has. He believes in getting 
the best out of life, no matter by zvhat method. 
Looks something like Taft. He is the owner of 
a rival team, " The Hornets ".) 

Bohannan. Ah ! There you are, Welland. 

Welland. Yah, here I am. 

Bohannan. Come in. 

Welland. {Coming in through fence sidewise) 
This hole wasn't made for a fat man. 

Bohannan. How are you? {They shake hands) 

Welland. Just able to sit up and take nourish- 
ment after two nights on the T. and G. M. 

Bohannan. Awful trip from New York. 

Welland. Any trip is awful that's more than 
three miles from Broadway and 42nd Street. 

Bohannan. {Going over to press table with 
him) Sit down. {They both sit) 

Welland. {Mopping his brow) Phew ! Some 
hike up that railroad track. Why didn't you come 



10 THE GIRL AND THE PENNANT 

to my car? Nifty, little breakfast waiting for you! 
Got the finest cook ! You missed it. 

BoHANNAN. I didn't think it advisable! 

Welland. Maybe not! Maybe not! {Taking 
cigar from Jiis pocket) Cigar? 

BoHANNAN. Thanks. I don't smoke. 

Welland. Don't, eh? I never let any of the good 
things of life get by me ! Dollar per, these. Made 
for me personally. (He lights cigar looking at 
BoHANNAN out of the side of his eyes as he does so. 
BoHANNAN is evidently on his guard, and deter- 
mined not to open the conversation) 

Welland. Well? 

BOHANNAN, Well? 

Welland. Been thinking things over? 

BoHANNAN. What things? 

Welland. Oh, look here, Bohannan. You don't 
mean to tell me that you haven't been laying avi^ake 
nights thinking over my proposition. 

Bohannan. I told you pretty plainly in New 
York that I couldn't consider it. 

Welland. Yes, I know. Ha ! ha ! You turned 
me down so flat I had to go out edgewise. 

Bohannan. Well 

Welland. Well, I had a hunch you'd be in a 
different frame of mind now, and I always follow 
my hunches. It's no secret up there that you're not 
singing any serenades under the window of the lady 
that owns the club. (He laughs) 

Bohannan. Hm! I suppose it's a fine laugh on 
me, but it's a pretty damned unpleasant situation ! 
That woman's been butting in from the day her 
uncle died and left her the club. 

Welland. Ha, ha, too bad ! Got your goat, eh ? 

Bohannan. Yes, and I'm going to make it my 
business to find out where she keeps hers. 

Welland. You can't get a v/oman's goat. If 
you got it, she'd swear it was somebody else's. I 



THE GIRL AND THE PENNANT ii 

thought you tolJ me you were going to get her to 
sell out. 

BoHANNAN. Sell out ! She's sticking to it like a 
porous plaster ! Talks a lot of sentimental slush 
about her uncle. " Wants to keep the name of 
Fitzgerald in base-ball." Rot ! 

Welland. I hear Mike Freeman wanted to break 
into the game? 

BoHANNAN. He did. He does yet. Why, if I 
could get this Club for Freeman Fd be on easy 
street for the rest of my life. Part owner, that's 
good enough, isn't it? Think of a chance like that 
and a v/oman putting a crimp in it ! 

Welland. There's more roads than one, to easy 
street. 

BoHANNAN. Fve always gone straight. 
\'\^ELLAND. So have I : Straight to what I want ! 
You're not in this for your health, are you? Base- 
ball ain't just a game now-a-days, it's a business. 
BoHANNAN. It's a clean business. 
Welland. (Condescendingly) It has been — it 
has been. I don't deny that — but things are com- 
mencing to look up since I broke into the game. 
Ha, ha ! When I bought the Hornets, I didn't buy 
'em for the gate receipts. I don't mind telling you 
that I'm looking for big money. Between you and 
me, if my club wins the pennant this year it'll mean 
a cool half million clean-up on the side. Why Wall 
Street and me are two-stepping together, like Harry 
Pilcer and Gaby Deslys. 
BOHANNAN. Hm ! 

Welland. And the man that plays the right tune 
for us to dance can name his own figure! 

Bohannan. You talk as if it were an easy thing 
to do. 

Welland. No I don't. If I thought that, I 
w^ouldn't talk big money. 

Bohannan. The Eagles are in a better condition 



12 THE GIRL AND THE PENNANT 

than they ever were. Far and awa)' the best club in 
the League. 

Welland. I don't know about that, but it's a 
cinch that either the Eagles or my team will grab 
the pennant. 

BoHANNAN. You Can't count on a thing like that. 
We may both be tail-enders before the season ends. 

Welland. Well, that's my trouble. I'm willing 
to take chances. All I ask you to do is to lay back 
at the end of the season, if necessary, and give me 
a chance to get in on the World Series. 

Bohannan. Everybody'd be on. I tell you, you 
can't double-cross in base-ball. Your own team 
would be wise in a minute. 

Welland. The players ! Well, what have they 
got to do about anything F 

Bohannan. How about the fans? You can't 
monkey with the public. 

Welland. I've never made money any other 
way. The public's always sitting around with its 
eyes stuck out, begging you to pull the wool over 
'em. Ha, ha, that woman's got you nervous. 

Bohannan. Nothing of the kind. 

Welland. Look here. I've been looking into 
your affairs. 

Bohannan. It'd be a better idea to attend to 
your own. 

Welland. I think I can make them identical. 
I know to a penny just how much you were in the 
hole when your wife cut oflf with Forbes. 

Bohannan. (Starting up) Look here, Welland. 
I allow no man 

Welland. Aw. I'm your friend. You ought 
to understand that. Why, I can put you next to a 
real estate deal in New York that'll double your 
money in six months. 

Bohannan. I haven't any money to double. 

Welland. That's where I come in. If we can 



THE GIRL AND THE PENNANT 13 

come to terms, I'll give you a check to-day for 
twenty-five thousand. You can take my tip, put it 
in United Realty and I'll add to your winning a 
third of the gate receipts of the world series. 
That's mean and stingy, eh? Why, you'd be on 
your feet, an independent man at the end of the 
season. 

BoHANNAN. No, not that way. Freeman will 
square my debts if I can get Miss Fitzgerald to sell 
the club to him. I'm going to give her another 
chance to-day. 

Welland. If she's anything like old Fitz, she'll 
stick. If she does? — If she won't sell? (Rising) 
If she won't sell, you send me a little message to my 
private car and my oft'er'll hold good. 

Boiiannan. You shouldn't have come down 
here. Newspaper men all over the place. 

Welland. Oh, I fixed that all right. The crew 
has my instructions. I'm supposed to be a Mr. 
Wise, the spendthrift millionaire on a pleasure trip 
South. Pleasure? There ain't any, south of Herald 
Square ! (He moves toward fence) 

BoHANNAN. If — I send Sam the trainer — to 
your car by one o'clock with — say, a brace of 
partridges — you'll — you'll know that Miss Fitz- 
gerald won't sell. 

Welland. And it'll mean you're with me? 

BoHANNAN. I don't know — I'll decide. I'll see. 

Welland. You'd better tie to me, Bohannan, I 
never double-crossed a pal. Whenever I make a 
proposition, no matter how crooked it is, it's straight. 

Bohannan. Better go out by the gate. 

Welland. Right oh! (They walk tozvard l.) 
I'll expect to hear from you by one o'clock. And 
believe me, I'll enjoy those partridges ! 

Bohannan. You'll find the gate open. If I don't 
see you before, I will in New York. (They shake 
hands) 



14 THE GIRL AND THE PENNANT 

Welland. Sure. Any day — one o'clock. Corner 
table at Rector's. {He goes off left) 

(Sam has entered, unperceived by them, on Wel- 
land's speech about the partridge. He looks 
after Welland, his jaiv dropping. He then 
slips out again through fence. Boiiannan 
turns and goes toward press table. Sam re- 
enters at fence.) 

BoHANNAN. Well, you got back pretty quick. 

Sam. Yas, sah. Done run all de way. Photo- 
graphers is took and de team is coming up de track 
now. 

BoHANNAN. You're all right, Sam. Here's five 
dollars. Buy yourself an automobile. 

Sam. Ha! Ha! I reckon a second-han' motor 
cycle'll do me ! (Bohannan goes off l. Sam looks 
at money for a moment. Looks after Bohannan, 
shakes his head, and then philosophically puts money 
in pocket. Copley Reeves enters at fence. Copley 
Reeves is a young man of about tiventy-eight. He 
is a college man and is in base-ball mainly to look 
after his brother " Punch ", who is the star pitcher 
of the Eagles, and rather ivild. Cop has a certain 
dry humor and plenty of assurance when with the 
men, but is rather bashful zvith women) Mornin', 
Mr. Cop. 

Cop. Hi, Sam. (Cop goes over to bench, throw- 
ing off his mackinaw, takes off shoes and puts on 
spikes) 

(Warren, the newspaper man; enters zvith another 
older man. Older man goes to press table. 
Warren comes dozvn to Copley.) 

Warren. Say, Cop, do you know anything 
about a Mr. Wise — William Wise ? 



THE GIRL AND THE PENNANT 15 

Cop. Willie Wise. Lots of 'em in the world, 
which one? 

W^VRREN. That's what I want to know. Tvlust 
be some big gun. 

Cop. Big gun, eh? Judging by report? 

Warren. Naw ! Judging by appearances. Why, 
he's got a fussy private car down there by the freight 
yard that looks like a Belasco production. 

Cop. Hm ! That must be the car I heard rehears- 
ing under my windov/ all night. 

Warren. I couldn't find out a thing about him. 
He's got a set of muzzled niggers on the train. 
Couldn't open their mouths with a monkey-wrench. 

Cop. Why didn't you try a watermelon? 

Warren. Oh, rotten! {He goes over to press 
table as players begin to pile in through fence. Some 
hang their coats up on nails, others throzv them 
across bench. Skeets ]\La.rvin is heard outside) 

Skeets Marvin. (Outside, singing) 

\'\^ay dovvm South in the fields of cotton, 
Sunday closed and hotels rotten ! 
Look away, look away, look away, Dixie land. 

(Skeets enters through fence. Skeets is an agile 
little third-baseman. He is a continual " josher", 
fond of practical jokes, likely to break into song on 
all occasions. Skeets striking an attitude in front 
of press table) Gentlemen of the Press, you see 
before you the great Skeets Marvin ! First in the 
field, first to his meals, first in the heart of his 
manager. Rah! Rah! Rah! Marvin! (Claps his 
hands, bows right and left) " I thank you, my 
father thanks you, v.^e all thank you, we all thank 
you ! " (Goes over to bench, pulls off shoes and puts 
on spikes. Speaking to photographer zvho has just 
come in) Photographer, you may now take a snap- 
shot of the great Skeets Marvin putting on his 
spikes. It will please the ladies. 



1 6 THE GIRL AND THE PENNANT 

Cop. How do you do it, Skeets, so early in the 
morning ? 

Skeets. Natural vivacity! Natural flow of 
spirits. I'm tliat sweet-tempered when I get up in 
the morning! (Several other fellows come fhrougJi 
fence. Hang up coats. Pitt on spikes. Others go 
to trunk, get bats, balls, etc., from Sam. As they 
come in some of them nod to nezvspaper men. All 
go about their business zvithoiit much zvaste of 
zvords. Enter Chief Wayne, an Indian. Skeets 
rising) Gentlemen of the Press! Allow me to in- 
troduce Chief Wayne. His first time in vaudeville. 
This great catcher will now deliver you a monologue 
entitled, " How I split my finger-nails, and why." 

Wayne. (Coming dozvn) Much chance anybody 
has for a monologue when you're around ! 

Skeets. Oh, naughty ! naughty ! A grouch ! 
And you're to be queen of the May! 

(Pitman, an old pitcher zvho has seen his best days 
and zvho has come in zvith a crozvd of other 
men, comes dozvn to bench. Pitman is the old 
style of ball player. Not educated. A typical 
long, lank countryman zvho knozvs nothing else 
but base-ball.) 

Pitman. (To men) They do say that Skeets 
winds his mouth up every night and it goes all day. 

Skeets. Gentlemen of the Press ! Gaze upon this 
historic specimen. Pitman, who pitched the last ball 
to Noah as he entered the ark. 

Cop. (Protesting) Can that, Skeets ! 

Pitman. Oh, don't mind me — I know I'm a has- 
been. (He turns azvay and goes up to Sam) 

Skeets. Where's your baby, Cop? 

Cop. You're the only infant I see about here. 

Skeets. What sparkling repartee ! Did you get 
Punch out of bed ? 



THE GIRL AND THE PENNANT 17 

Cop. Only three times. I didn't have time to 
really wake him. 

(Enter McCracken, a nczv pitcher, for zvhom 
BoHANNAN has jitst paid ten thousand dollars. 
He is very conceited — continually posing.) 

Forbes. (The photographer goes over to Mc- 
Cracken) Just one pose, Mr. McCracken — alone. 

Skeets. Make him pretty, Forbes. He cost ten 
thousand dollars ! Ten thousand dollars ! Put a 
golden halo round his head. 

(As McCracken is posing in a very self-satisfied 
manner for Forbes, Bohannan re-enters from 

L.) 

Boiiannan. Pitman. 

Pitman. Yes, sir. 

Bohannan. Take the recruits to the field. 

Pitman. Yes, sir. (He goes off left, followed 
by the new men) 

Bohannan. Come now. What's the matter? 
Get to work. Hall, Warren, McGee. Round the 
park three times. Skeets, a little less comedy 
wouldn't do you any harm. McCracken. 

McCracken. Yes, sir. 

Bohannan. Hand-ball. Don't put anything in 
it. 

McCracken. No, sir. 

Bohannan. Cop. 

Cop. Yes, sir. 

Bohannan. Where's Punch? 

Cop. He's coming. He'll be along presently. 

(Bohannan goes off l. Copley, Skeets and two 
other men, start to " zvarm up " by lining up r. 
and throzving to Wayne, zvho catches l.) 



i8 THE GIRL AND THE PENNANT 

Skeets. {Throiuing) A little teaser! 

Wayne. Just as easy ! ( They throiv for a mo- 
iiient, zvhen Punch Reeves enters through fence. 
Punch is the star pitcher of the Eagles. A very 
handsome fellow of about tzventy-ftvc) 

Fellows. Hi, Punch ! 

PuNCPi. (Rather grouchily, as he comes dozvn 
to bench) Hello ! 

Skeets. Late again ! Wait till Bohannan sees 
you. He is in a dandy humor this A. M. 

Punch. So am L (They keep throzving ball all 
through conversation) 

Skeets. (Sings) 

Oh, way down South in the fields of cotton, 
Sundays closed and hotels rotten ! 

Punch. (From bench) Aw, cut the concert, 
Skeets. You give me a headache. 

Skeets. I give you a headache. Come again. 
Little Skeetsy is wise to where you got that head. 

Cop. You ought to be: you were there when he 
got it. 

Skeets. All right, Cop. I'll be good. I won't 
tease your little brother. 

Wayne. (The Indian, receiving a particularly 
hot ball from one of the men) What are you trying 
to do? (Takes off his glove and examines his 
finger) 

Cop. Hurt you? (He goes over to Wayne) 

Wayne. Hurt! Another nail split! Hell! 
(Throzi's his mitt dozvn and goes over to bench, nurs- 
ing his finger) 

Skeets. (Singing at Wayne) 

Baby, baby, that is the name I love. 
Sweet as the voice of an angel, soft as the coo 
of a dove! 



THE GIRL AND THE PENNANT 19 

Wayne. (Starting tozvard Skk.ets, ivho hops he- 
hind- other fellozvs to keep out of his way) Baby, 
am I? I'll show you. I've got to wash your face 
for that. 

{There is a general good-natured rough-house. 
Wayne gets hold of Skeets, the other fellozvs 
assisting and laughing. They lift him and duck 
his head in zvater-hucket beneath the cooler. 
Re-enter Bohannan.) 

BoHANNAN. Here! Here! What's all this? 

{Fellozvs stand grinning as Bohannan faces them. 

Skeets spluttering the zvater from his mouth and 
rubbing his zvet hair) You act like a lot of Rah- 
rahs ! Go on and get some batting practice, Wawye. 

(Wayne takes a bat from Sam and goes off l. 
grinning. ) 

Bohannan. Punch! 

Punch. Yes, sir? 

Bohannan. Late again to-day. What's the mat- 
ter? 

Punch. Well, I can't wake myself. 

Bohannan. It'll cost you twenty-five dollars the 
next time ! What's the matter with you, Cop ? I 
told you to see that your brother got here. 

Cop. Why, I — er 

Bohannan. You might do that much. Three 
times around the Park, Punch. {To men on bench) 
Here, you beach-combers. Get busy. What are you 
waiting for? A snap-shot? 

{Men get up from bench and go off l. follozved by 
Bohannan. Punch strips off his szveater and 
starts running off r. Cop and Skeets left 
on stage.) 



20 THE GIRL AND THE PENNANT 

Skeets. Gee! he's got a grouch, all right. (To 
Cop) Why didn't you tell him you pulled Punch 
out of bed three times this morning? 

Cop. Aw ! what's the use ? Want to catch ? 

Skeets. No! Fm tired. {Throivs glove dozvn 
and goes over to bench) 

Cop. Aw, come on. {He throzvs hall several 
times in the air, catching it) 

Skeets. What you trying to do? Get the kink 
out of your arm? 

Cop. Nothing like that. It's an ingrowing kink, 
so they tell me. 

Skeets. Oh, I don't know. If your brother 
wasn't a star pitcher and high roller, you might have 
a chance. But you're snowed under. Dead cold. 

Cop. Well, why didn't you give me a chance to 
" warm up ? " 

Skeets. Gee, if I'd inherited a barrel of money 
like you ! 

Cop. I suppose you'd have started in to " whoop " 
it up, eh? 

Skeets. I would that. I wouldn't stick in base- 
ball. Only exercise I'd take would be cutting 
coupons. 

Cop. I like base-ball. 

Skeets. Rodents ! You stay in to chaperone 
Punch. No one else is on to it, but little Skeetsy is 
the wise boy. 

Cop. He thinks he is. 

Skeets. Yeh, and I know where all your loose 
change goes too. Gee, I wouldn't stand for the 
fellows thinking me a tight-wad, just to give Punch 
a chance to lose at poker every night. 

Cop. Say, do you know you're going to get your 
nose hurt some time, sticking it into other people's 
business ! 

Skeets. Well it's my nose. 



THE GIRL AND THE PENNANT 21 

(Some men come in from field, get coats, wrap them 
about them, others go to zvater-cooler. Some 
sit on bench. Punch Reeves runs in panting 
and blowing from his run about the Park. Cop 
jumps up, gets Punch's coat and helps him 
into it.) 

Punch. Ugh! 

Skeets. That's right, Cop. Wrap the baby up 
and give him his rattle and bottle. 

Punch. PIl rattle and bottle you when I get my 
breath. Gee! Fm all in. {Sits on ground) 

Skeets. You don't look pretty, Punch. You do 
not look pretty. Suppose the Lady Magness should 
show up and see the only hero sitting on the ground 
— puffing like a swine and his nose ornamented with 
a map of Texas ! 

Punch Why? Is she here? 

Skeets. Due to-day. I had it from the clerk. 
She's engaged the only suite in the Ptomaine Palace 
v/ith a bath. Some class to that, eh? 

Punch. Hand me a drink, will you, Cop? You're 
up. (Cop goes over to cooler and fills the cup, hand- 
ing it to Punch) I know Miss Fitzgerald. At 
least I used to. Lived next door to us in Albany. 
She v/as sweet on Cop then. 

Cop. Nothing of the kind ! 

Skeets. {To Cop) Well, you bally old oyster, 
why didn't you say so? What's she like? 

Punch. She v*-as all bones and legs, far as I 
remember. Not much of a looker. 

Cop. She had good eyes. Irish, you know. 

Skeets. {Singing) 

" When Irish eyes are smiling, sure 'twas like a day 
in June " ! 

Go on— Green eyes, bones and legs. What else? 



22 THE GIRL AND THE PENNANT 

Punch. It's been some years since we lived in 
Albany. 

Skeets. Some years ! Gee. An old maid. I'll 
bet she's strong on suffrage. 

Punch. If there's anything gets my goat, it is one 
of these iron-board business women. 

Skeets. Sure, you like the kind that falls for 
your manly be-au-ty, in a shower of pink notes ! 

Pitman. I hear from Bohannan she's a regular 
rarer ! It'll put the kibosh on the club all right. 
(Pitman is up l. by trunk, stripped to under-shirt. 
Sam is rubbing his arm zvifh liniment) 

Sam. (Who has been listening to conversation) 
You can't put no kibosh on dis yere club. Dey ain't 
no Jinx kin put a crimp in de Eagles now. We's 
a-going up — a-going up 

Skeets. Sporting goods on the fifth floor — all 
out! 

(Sound of automobile tooting outside fence. It 
toots persistently.) 

Punch. Somebody out there wants something. 

Skeets. (Running to fence) It's a bunch of 
skirts in a big yellow touring car. It's the Magness. 
I feel it in my bones it's the Magness. (He comes 
dozvn ) 

Sam. Dey 're gettin' out. One of 'em is. 

(McCracken, the new pitcher, gets up and strikes 
an effective pose. Punch begins to smooth 
his hair. All look tozvard fence expectantly. 
Miss Squibbs, Miss Fitzgerald's secretary ap- 
pears at opening in fence. She is a woman of 
about forty. Very prim and precise. She is a 
mental scientist and ivears an eternal smile.) 

Miss Squibbs. Are these the base-ball grounds? 
Sam. Yes'm. 



THE GIRL AND THE PENNANT 23 

INIiss Squibbs. I want to see Mr. John Bohannan. 
We knocked at the gate, but nobody answered. 

Skeets. (Aside) Oh, so sorry. The butler is 
out to-day ! 

Cop. (Going forivard) I'll call Mr. Bohannan, 
Miss 

I\Itss Squibbs. Please tell him that Miss Fitz- 
gerald is here. 

(Fcllotcs look at each other in dismay.) 

Cop. I'll tell him. Won't you — won't you come 
in ? 

]Miss Squibbs. I prefer to wait here. 

(Cop leaves her and goes off l.) 

Skeets. (Under his breath) Lord! Oh, Lord ! 
Owned body and soul, and by that ! 

(McCracken and Punch relinquish attitudes.) 

Pitman. It's a Chessy cat ! Did you cop the 



(MoNA Fitzgerald appears back of Miss Squibbs, 
at fence. She is a very pretty, very young girl 
with a decidedly smart air and manner. Tlie 
men have their backs turned to fence and do not 
see her zvhen she first appears.) 

MoNA. What's the matter, Miss Squibbs? Can't 
we go in? (Fellon's all turn at sound of her voice 
and zvhen they see her all, spring suddenly to atten- 
tion. To men) We may come in, mayn't we? 

All. Sure ! 

MoNA. Come in, Alice ! It's all right. (She steps 
through opening, follozvcd by another pretty girl, 



24 THE GIRL AND THE PENNANT 

Alice Tilford, a Southern girl zvith a decided 
accent mid very gushing. Mona is very feminine — 
not a managing type at all, and rather frightened at 
the responsibility of oivning the club) I'm Miss 
Fitzgerald. I want to see the — my manager. 

Punch. {Going forzvard) My brother has gone 
for him. I suppose you don't remember me. I'm 
Reeves. 

Mona. Sure, I remember you. You used to bully 
me awfully in Albany, and besides, I've seen you 
often at the games. This is Mr. Reeves, Miss Til- 
ford. 

Alice. {Gushing) Oh, are you Punch Reeves? 
I've just been dyin' to meet you. I'm crazy about 
base-ball. 

Skeets. {To men) Look at him, hogging it all. 

Mona. Come in, Miss Squibbs. It's all right. 

Miss Squibbs. {Looking at high hoard over 
which she must step) I — er — if the gentlemen will 
please turn their heads. 

Mona. Oh, don't be silly, Squibbsy! 

(Miss Squibbs steps gingerly over board, displaying 
a generous amount of stocking. She looks 
about resolutely cheerful, but not liking it.) 

Miss Squibbs. {To Mona) Do you think we 
ought? — All these men — and — {She sees Pitman in 
under-shirt, hastily trying to slip into sweater) 
Ugh! 

{Enter Cop with Bohannan.) 

Mona. Ah, Mr. Bohannan. You see, I came, in 
spite of your warnings. 

Bohannan. I'm very glad indeed to see you, 
Miss Fitzgerald. 

MoNA. Well, I shouldn't have thought so from 
your letter. 

Bohannan. Well, you see, I thought of the long 



THE GIRL AND THE PENNANT 25 

journey — poor accommodations and all that. I ad- 
vised you to stay in New York because Sligo, Texas, 
is rather primitive. 

MoNA. Oh, it isn't Sligo I came to see. I wanted 
to see the team. Isn't this Copley Reeves? 

Cop. I — v/hy — I — yes 

MoNA. Don't you remember me? 

Cop. I used to — That is, I mean, you're not so 
young" as you were ! 

MoNA. {Laughing) Oh! How ungallant! 
{Turning from Jiim) I want to meet all the men, 
Mr. Bohannan. 

Alice. {Has cornered Punch and is talking to 
him enthusiastically, looking eagerly up into his 
face) Yes, I've got your picture on my dressing 
table — I go to all the games. I just love base-ball. 

MoNA. {Taking Bohannan over to Miss 
Squibbs) Mr. Bohannan, Miss Squibbs, my sec- 
etary. Alice — Alice — I want you to meet Mr. 
Bohannan, the manager. 

Alice. {Releases Punch, zvhom she has talked 
up into a cornier, and comes over to Mona and 
Bohannan) Oh, I declare, I'm so excited. How 
do you do, Mr. Bresnahan? 

Bohannan. Bohannan ! 

Alice. Oh, yes, Bohannan. I'll remember that. 
Sounds like banana. I've seen your picture so often 
in the papers. I was dyin' to meet you. I know 
you can explain so many little things I don't under- 
stand about base-ball. (Alice corners Bohannan, 
and Punch making a ivide detour around her, comes 
doivn to Mona) 

Punch. I think Bohannan will be busy for the 
next few minutes. Would you like to meet the 
other men? You know my brother, of course — 

Mona. {Smiling) I knew a Copley Reeves 
once, but he doesn't seem to know whether he's the 
same one. 



26 THE GIRL AND THE PENNANT 

Cop. Oh, yes, I'm the one. It's you — I didn't 
know. You see, you wore short skirts — If you'd 
worn short skirts to-day, I'd have recognized your — 

Punch. Hm ! 

Cop. Your short skirts. 

Punch. {Steering Mona azvay from Cop and 
over to Wayne. Cop kicks himself) This is 
Wayne. Chief Wayne. 

Mona. How do you do? 

Skeets. (Trying to attract Punch's attention to 
himself) Hm!" 

Punch. (Ignoring Skeets) This is Pitman. 

]\IoNA. Oh, Mr. Pitman, I am so glad to know 
you. My Uncle thought so much of you. Miss 
Squibbs, come here. I v.'ant to introduce Mr. Pit- 
man. You've heard Uncle Ned speak of him so 
often. 

Miss Squibbs. Oh, yes. The old one. 

Mona. Old nonsense. 

Pitman. That's all right, ma'am. My wing 
ain't dead yet. 

Mona. Dead ! I'm counting on that arm to help 
me win the pennant. 

Skeets. (Pulling Punch's sleeve) Hm ! 

(While these introductions are going on, Alice is 
gradually talking Bohannan up against the 
fence.) 

Punch. The rest of the regulars are out on the 
field. Shall I take you over? 

Mona. I'd love to — if it won't interrupt them. 
You see, I want to know every one personally. I 
believe in the personal element in business. 

Punch. (Looking dozvn at her, evidently very 
much impressed) So do I. (He goes off zuiih 
Mona tozvard l.) 

Skeets. Well, the low-down sun-of-a-gun ! Ain't 



THE GIRL AND THE PENNANT 27 

I a regular ? What's the matter with him ? (He fol- 
lows them off) 

Alice. {To Boiiannan) Oh, look! Where's 
Mona going? To the horseshoe? Do take me, Mr. 
Bobannan. I want to stand on the horseshoe. 

BopiANNAN. The horseshoe? 

Alice. Well, the grid-iron. W^hatever they call 
it. 

Boiiannan. You mean the diamond. 

Alice. Oh, yes. Do come and explain it all to 
me. I'm so interested. I do love base-ball. {She 
hustles Bohannan off l., although he is evidently 
reluctant. Men are doubled up zvith laughter) 

Wasren. Oh ! Oh ! Did you see Bohannan's 
face? Come on, fellows, I want to be in on the 
murder ! Oh, I do loi'e base-ball. 

(Everybody goes off left except Miss Squibbs, Cop 
and Sam. Miss Squibbs hesitates, looks about 
as though frightened.) 

Cop. Would you like to go over ? May I ? 
Miss Squibbs. I — I don't know you, sir. 
Cop. No — that's why I thought you might take a 
chance! (She hastens off after others) 

(Cop stajids looking after her, then goes over to 
bench, sits and begins idly digging at the turf 
zvith a bat he has picked up.) 

Sam. She done give you the turn-down, Mr. Cop, 

Cop. She did that, Sam. 

Sam. You all's too serious. You ought to get 
busy — Mix up ! Mix up ! 

Cop. I'm afraid I'm not much of a mixer. 

Sam. I say, Mr. Cop, do you think Mr. 
Bohannan's considerin' any exchange with the Hor- 
nets. 



28 THE GIRL AND THE PENNANT 

Cop. Well, he might be willing to exchange me 
for two bats and a used ball, but I don't think he'd 
let anybody else go. Why? 

Sam. We all had a visitor dis mornin' to de 
Park, and I jes' cain't reason it out. Is you ever 
seen Henry Welland, de owner of de Hornets? 

Cop. Sure. 

Sam. Ain't he a large round circular faced fel- 
low, sproutin' cracked ice and always a laughin'? 

Cop. That's Welland, you've got him. 

Sam. Yes I — I got him. 

Cop. Where'd you see him? 

Sam. Why, I 

(Punch comes running hi, excitedly.) 

Punch. Oh, Cop — Cop 

Cop. Here I am. What's the matter? 

Punch. I've got to have some money. 

Cop. Oh, I thought you were bringing me some 
news. 

Punch. Well, of course, if I'm drawing too 
heavily 

Cop. Nobody could accuse you of that. Punch. 
You've got a very light touch. What's the matter? 
Couldn't you cash in last night ? 

Punch. Oh, no. I didn't lose much; but I'm 
cleaned out and I've just invited the ladies to go out 
to Skelton's for a chicken and wafifle supper. 

Cop. Quick action, my son, quick action. 

Punch. Well, she said she couldn't eat in the 
hotel, so it was up to me — naturally. And now it's 
up to you. 

Cop. Naturally. 

Punch. Oh, hang it. Cop. I thought you meant 
it when you said I'd share your income. 

Cop. I do mean it. I was only trying in my light 
and artistic manner to be funny. I don't consider 
it my income any more than yours. 



THE GIRL AND THE PENNANT 29 

Punch. Oh, that's all very well for you to say, 
but you don't know how it makes a fellow feel to 
come to you for money, when if it hadn't been for 
that rotten will 

Cop. Aw, chuck it. Punch! You know Fd split 
the principal with you if I could. How much do 
you want? 

Punch. Put a hundred to my credit in the office. 
She's going to stay a couple of days and we've got 
to do the right thing. 

Cop. Of course we have. I'll see to it. 

Punch. That's a good old dub. You needn't 
think I don't know I spend more than my share, 
but I'll pay you back some day. (He turns azvay) 
Say, she's a winner, isn't she? Who'd have thought 
Mona Fitzgerald would have turned out like that ! 
I'm going to be little Willie good-boy from now on. 
You watch me. [He goes toward left and en- 
counters MoNA and Bohannan) 

Punch. You're not going? 

MoNA. Oh, no. Just going to have a little talk 
with Mr. Bohannan. 

(Punch exits.) 

Bohannan. (To Cop, pointing to field) Umpire 
this for me, will you? 

Cop. Yes, sir. (Goes off l.) 

(Mona and Bohannan go over to press table and 
sit. Miss Squibbs comes fluttering in from 
field and sits on bench.) 

MoNA. Mr. Bohannan, I don't know much about 
business. 

Bohannan. So I should judge. 

MoNA. And I'm not used to dealing with men 
who — who dislike me. (She zvaits a moment for 



30 THE GIRL AND THE PENNANT 

BoHANNAN to coutradlct licr, hut he says nothing) 
I feel that you are displeased about my insisting 
upon keeping Pitman — but there were certain things 
my Uncle talked to me about before he died — and — . 
and I want to follow his wishes as nearly as I can, 
but I don't want to interfere with you. 

BoHANNAN. Pitman's dead-wood. It's a mistake 
keeping him, but so long as you insist, I have noth- 
ing further to say. 

AIoNA. I don't want you to feel that way. I 
want you to understand it's a matter of sentiment. 

BoHANNAN. Well, I hope you'll enjoy running 
the team on sentiment. 

MoNA. Oh, but I shan't enjoy it. I don't enjoy 
anything about it but the games. I didn't want to 
own a base-ball club, Air. Bohannan — really 

BoHANNAN. Look here. Miss Fitzgerald, why 
don't you take my tip and sell out? This isn't a 
game for a woman — like you. 

MoNA. I know, but my Uncle wanted me to keep 
it. 

Bohannan. Well, I don't mean to be ugly, but I 
tell you right now, I've got to be boss of this team 
or 

(Pitman, the old pitcher, comes in and sits on 
bench. Miss Squibbs draws away from him, 
smiling resolutely. Pitman hypnotised by her 
smile, keeps looking at her. When he catches 
her eye, he looks quickly azvay. She keeps mov- 
ing further and further azvay from him each 
time. ) 

Mona. {To Bohannan) You are boss, ab- 
solutely. That's what I want you to be, but don't 
you think I should take an intelligent interest in my 
own club? (They continue to talk in lozv tones) 

Pitman. {To Miss Squibbs) You needn't 
move up any further, ma'am. I ain't so fat. 



THE GIRL AND THE PENNANT 31 

ivliss Squibbs. I wasn't thinking of you, sir. 

Pitman. Oh, wasn't you? I thought you was 
smiling at me. 

Miss Squibbs. Whenever I find myself in a 
particularly disagreeable situation, I smile. 

Pitman. You don't say? What for? 

Miss Squibbs. It changes my mental attitude. 

Pitman. Yes'm, I think I get you. Though as a 
high-brow, I'm rather on the blink. 

Bohannan. {Angrily. To Mona) No, Miss! 
No ! Cop Reeves has got to stay. 

Mona. You never use him. 

Bohannan. Use him? He's on this team to keep 
Puiich Reeves sober, if you must know. (They con- 
verse again in lozv tones) 

Pitman. (To Miss Squibbs) Look at the 
youngsters over there, ma'am. That's livin' ! You 
and me's " has-beens ", ain't we ? 

Miss Squibbs. Sir ! 

Pitman. Oh, I meant it complimentary. I guess 
you put a few over the plate when you was young. 

Miss Squibbs. Over the plate ! I have absolutely 
no appetite. Never had. 

Pitman. You don't understand — that's base-ball 
for 

Miss Squibbs. No, sir. I don't understand your 
base-ball talk and what's more, I don't care to hear 
it! 

Pitman. Well, there's one thing I like about you. 
You don't fan none. 

Miss Squibbs. Fan! Why should I? I'm not 
w^arm ! 

(Pitman, zvith a gesture of despair, gets up, goes 
over to water cooler and plunging his hands 
into bucket, bathes Jiis forehead.) 

Mona. I suppose you're right, Mr. Bohannan, 



32 THE GIRL AND THE PENNANT 

and I'm perfectly willing to leave everything in your 
hands. 

BoHANNAN. Well, if you take my advice, you'll 
get out of it entirely. I understand your uncle's 
estate didn't figure up to much — beyond what he 
had in the Club ? 

MoNA. No, there wasn't much else. 

BoHANNAN. You ought to get your money out 
and soak it away in some perfectly safe investment. 
This is a man's job. You can't hold it down. 

MoNA. But my uncle said I'd have no trouble 
with you as manager. 

BoiiANNAN. Well, Fitz and I could work to- 
gether. Besides, he was a man. If I made mis- 
takes that cost money, I'd feel rotten, putting a 
woman in the hole. 

MoNA. It's awfully kind of you, Mr. Bohannan, 
and I understand now how you feel about it. (She 
rises) 

Bohannan. I've seen some pretty wise guys go 
broke on this game. Suppose you have a losing 
year? Suppose your club goes to the bad? 

Mona. But we'd make money anyway, wouldn't 
we? 

Bohannan. Public's mighty fickle. Why, I've 
seen first-class teams go down so quickly they 
couldn't do paying business on their own home Park. 
Now, if you were a man, I'd say, go ahead — let him 
risk it. Even if you were a very rich woman it 
would be different — but I can't bear to see a woman 
up against it. 

MoNA. I wish you'd talked to me like this be- 
fore. (They are walking fozvard l.) 

Bohannan. It's never too late to take a tumble 
to yourself. You'd better think it over. 

MoNA. I shall — I'll think it over. 

Bohannan. Do, but you'll have to act quickly. 
I'd have to wire Freeman to-day if you're willing 



THE GIRL AND THE PENNANT 33 

to sell. Of course, it's nothing to me and I don't 
want to urge you, but I'm steering you straight 
I'll see you again in a few moments. (He goes off 

(MoNA stands looking after him.) 

Miss Squibbs. If my code of ethics allowed me 
to distrust any of God's creatures, I'd say I don't 
trust that man. 

MoNA. Oh, Squibbsy, I think he means to be 
kind, but — but he makes me feel that I'm nothing 
but a female. {She goes over and sits by Miss 
Squibbs) I hate to be a quitter — but I — I — Oh, 
Squibbsy— I want to run away — right away — right 
back home. 

Miss Squibbs. (Triumphantly) There! You 
can't say now there's nothing in Mental Science. 
I've been concentrating en you. I've been sending 
you " thought waves." I've been willing to throw 
up this whole unladylike business, you see ! 

MoNA. Oh, Squibbsy, don't begin Mental Science 
on me now. I've got troubles enough. 

Miss Squibbs. You shouldn't have trouble. 
There is no such thing as trouble. All is peace, joy, 
harmony : you've only to put yourself in the correct 
mental attitude. 

Mona. I haven't any mental attitude. I don't 
know where I'm at. 

Miss Squibbs. My dear girl ! 

Mona. Good grammar M^on't express my feeling. 
Did you hear how he barked at me when I asked 
him to let Copley Reeves out? 

Miss Squibbs. What's the matter with Copley 
Reeves ? 

Mona. I can't bear him. You know everybody 
in Albany says he just honeyed aroimd his father 
and did Punch out of his share in the will. 



34 THE GIRL AND THE PENNANT 

Miss Squibbs. Punch Reeves was the disgrace 
of the town. He got just \vhat he deserved. {Mes- 
senger boy at fence) 

Messenger. Is Miss Mononna Fitzgerald here? 

IN.IoNA. (Rising) I'm Miss Fitzgerald. What 
is it? 

Messenger. Letter for 3'ou. (Comes in and 
hands her note) 

MoNA. For me? 

Messenger. Gentlemen on the private car give 
me a dallah for bringin' it. Said there wasn't no 
answer. 

MoNA. Very v/ell. 

Messenger. (Calling off to field) Oh, you 
Eagles ! (Goes out) 

MoNA. (Opening note) I wonder who the 
gentleman on the private car can be ? (She reads the 
note. Appears pusded) 

Miss Squibbs. Nothing wrong at home? 

MoNA. No it's — I don't quite understand — Listen, 
Squibbsy. " Dear Miss Fitzgerald. There will be 
an effort made to buy you out of the club. Don't 
agree to it — you have a winning team, and you 
know your uncle's wishes. You're being advised 
against your best interests. Keep this quiet, but if 
you're worthy of the name of Fitzgerald, you'll 
not be bamboozled, you'll stick. A friend and well 
wisher." Well, what do you think of that? 

Miss Squibbs. I think somebody's very officious. 

MoNA. Squibbsy, this is providential. I feel al- 
most as if this were a message from my uncle. 

Miss Squibbs. Mona ! 

MoNA. It's just what I needed to buck me up! 
Well, " Mr. Private Car-man ! I don't know who 
you are, but I'll take your advice. I'll stick and I 
won't be bulldozed. I won't be dictated to. I won't 
be Mental Scienced at! I'm going to be my own 
man! I'll stick! 



THE GIRL AND THE PENNANT 35 

Miss Squibbs. Oh, dear ! 

(A number of men come in from the field, among 
them, Skeets, dancing attendance on Alice. 
She has a bat under her arm and carries a ball. 
She has on Skeet's makinaiv coat.) 

Alice. (To Chief Wayne) You must put your 
initials on this ball, Mr. Chief. I'm going to tell all 
the girls it's the ball you struck out with. I think 
it's awful clever of you to strike out with this big 
bat and such a little ball. 

Skeets. Clever! Clever! Very clever! 

Alice. It makes it so thrilling. You're being a 
real Indian. I never knew Indians talked English 
before. I thought they only grunted. 

Skeets. You ought to hear him when he splits a 
finger nail. (All the men have come in by this 
time. MoNA turns to them) 

MoNA. Men, I want to say a few words to you, 
may I ? 

Men. Sure — Go ahead. Three cheers for Miss 
Fitzgerald ! 

(Men give cheers.) 

Punch. Here, Miss Fitzgerald. On the bench. 
Up with you. (Punch assists Mona to get on 
bench) 

Mona. I know it's not very agreeable to — to any 
of you that the team should — should be owned by a 
woman. 

Men. No. Nothing of the kind. Not at all. 

Skeets. Delighted. 

Mona. You're very kind, but — well, you see, I 
don't like managing women much myself. (All 
laugh) But the team was left me as a trust. You 
all knew my uncle. You knew what base-ball meant 
to him. 



36 THE GIRL AND THE PENNANT 

All Men. Yes, yes, we know. Good old Fitz ! 
(Pitman at the side takes his cap off.) 

Skeets. He was a king sport, Miss Fitzgerald. 

MoNA. He was, and he didn't want the name of 
Fitzgerald to go out of base-ball. He hadn't any 
boys but me — nephews, I mean. So he trained me. 
Ever since I was that high Fve been going to the 
game. Fm not coming to you ignorantly. I know 
quite a good deal about it. I know every play. I 
know all your records. 

Skeets. Ouch ! 

(All laurjh.) 

MoNA. Besides 

Alice. She just loves base-ball ! 

{All laugh.) 

MoNA. Yes — I do, I do love it and I admire 
every — every — {She hesitates) 

Men. Oh, say it! Say it! 

MoNA. Well, I do. I admire every man who 
makes good in this, the cleanest sport in the world. 
{All cheer) Now, don't make fun of me. This is 
the first time I ever made a speech. 

Men. You're doing fine. Go ahead ! 

Mona. What I want to say is this. Twenty years 
ago, my uncle had a scrubby little team — bushers — 
whose chief claim to distinction was beating up 
umpires. But he loved them. He worked with 
them. He looked ahead. He saw organized base- 
ball as it is to-day. He wasn't in it for the money. 
He played the game for the game's sake. The 
Eagles crept up and up ; base-ball crept up and up. 
Big keen business saw it, the little fenced-in lots 



THE GIRL AND THE PENNANT 37 

began to disappear and big gorgeous parks sprang 
into existence, and the Eagles kept pace with all of 
this. My uncle went from the Bushes to the 
jMinors, from the Minors to the Big League. He 
couldn't afford the game, he wasn't a rich man, but 
he hung on. He wanted to see the Eagles win a 
pennant. Last year when you finished second, he 
was ill ; he only wanted to live one year more to 
see you win out. He knew you'd do it this time ! 
Oh, men, don't forget him. Go in and win, not for 
me, not for the Eagles, but for the memory of John 
Fitzgerald w'hose slogan was " American sport for 
the Americans, and all for fair play ! 
Men. We will! Hurrah! Hurrah! 

(BoHANNAN has coiiic in witJi nczvspaper men at 
L. and hears end of speech.) 

BoHANNAN. {To Warren) What do you know 
about that? 

Warren. She's got 'em going. 

BoHANNAN. I'll get her going. She's on her 
way to New York right now, but she don't know it. 

MoNA. I guess that's about all I have to say — 
and — and help me down, please. {Men all rush 
to help her down. As she comes down-stage she 
comes face to face zvith Bohannan) 

BoHANNAN. Perhaps you don't know. Miss Fitz- 
gerald, that it's against all base-ball precedent to 
make speeches to the men in the park. 

MoNA. Oh, no, I didn't. 

Cop. Perhaps ]\Iiss Fitzgerald doesn't regard 
precedent. 

Skeets. Oh, look who's talking right out in meet- 
ing! 

Bohannan. As Miss Fitzgerald's manager I 
don't care to see her make herself ridiculous. {He 
turns toward press table) 



38 THE GIRL AND THE PENNANT 

Alice. (Picking up a mask from ground) OO ! 
What's this ? Oh, it's what the Empire wears, isn't 
it? Mr. Bohannan, can I have this? It'll be just 
lovely filled with ferns. 

Bohannan. Oh, help yourself — help yourself — 
Take the Park ! 

Alice. Oh, thank you. I'm going to tell all the 
girls that it was the great John Bohannan's muzzle. 

(Everybody laughs, but Bohannan is furious.) 

Bohannan. Back to the hotel, all of you ! Re- 
port a half hour earlier this afternoon. We've got to 
make up for interruptions this morning. 

(Men go for coats, etc.) 

Alice. (To Skeets) You don't mind my keep- 
ing on your coat, do you, Mr. Skeets ? It's so chilly. 

Skeets. Not at all. I'll run back. Do me good. 

Alice. It'll be fine for motoring. 

Punch. (Coming dozvn to Mona) You won't 
forget? Five o'clock. I'll call for you. 

Mona. You're a life-saver. I couldn't eat a 
dinner in that awful hotel. (To Cop) Are you 
coming ? 

Punch. Oh, no, Cop don't care for that sort of 
thing. 

Cop. No. I prefer the meats at the Ptomaine 
Palace. 

(She goes up tozvard fence with Punch.) 

Bohannan. Miss Fitzgerald, have you been 
thinking over that matter I suggested to you ? 

Mona. (Coming dozvn) Yes, Mr. Bohannan, 
I've quite decided to respect my uncle's wishes in the 
matter. I'm going to stay in. 

Bohannan. Very well. I wish you luck. 



THE GIRL AND THE PENNANT 39 

MoNA. Thank you. I know you do. (She puts 
out her hand and Bohannan shakes it rather shame- 
facedly. She turns and goes up to fence ivhcre 
Punch is zvaiting for her, and they exit) 
(Cop is last on bench, bending to take off spikes.) 

Bohannan. Sam. 
Sam. Yes, sah. 

Bohannan. Tell the chef at the hotel to give you 
a couple of birds out of my ice-box. 

(Cop gets up and. goes tozvard fence.) 

Sam. Yes, sah. 

Bohannan. Take them at once to the private 
car you'll see down the track. Leave them for Mr. 
Wise with my compliments. 

Sam. Mistah Wise! Mistah Bohannan, dat man 
what was talking to you here dis mornin' is deceivin' 
you if he says he's any Mistah Wise. I tell you I 
kr.ov/ him and Fll eat dis yere bat if dat gemmen 
on de private car in't Henry Welland, de owner of 
de Hornets. 

(Cop pauses at fence, looking back in surprise. 
Bohannan stands looking at Sam, dumb- 
founded, as curtain descends.) 



ACT H 



Scene: TJie loggia at back of Mona Fitzgerald's 
hopne on the Hudson. Five months after 
first act. 

The loggia is a vine-screened back porch with 
a pergola over it. At center there is an entrance 
into the house. TJicre are entrances r. and l. to 



40 THE GIRL AND THE PENNANT 

different parts of grounds. The loggia is fur- 
nished zvitJi summer furniture: wicker chairs, 
hanging scats, tea tables, gay chints pillozvs, 
etc. It has the effect of a room. There are a 
fetv steps dozvn from loggia, and right and left 
are zvhitc marble benches. 

{Enter from house, Mona, followed by Sam.) 

MoNA. It was so good of you, Sam, to come to 
help us out. 

Sam. Miss Fitzgerald, I wouldn't a missed seein' 
the Eagles break into sassiety for nothin' ! 

MoNA. Oh, it isn't going to be society, Sam, only 
base-ball people. {She goes to r. and points off) 
You see that Marquee over there? 

Sam. Markee? 

MoNA. That red and white tent. That's where 
we'll serve the punch and lemonade. That's where 
you can help. 

Sam. Sure! Dat's where I kin help, where de 
punch is. 

MoNA. You'll find the servants over there now. 
I told them you were to take charge. 

Sam. Yes'm. {He goes tozvard r. and turns) 
Too bad we done lost dat game yestiddy. 

MoNA. Well, we're still in the lead and two games 
ahead of the Hornets. 

Sam. I don't like to git too near dem Hornets. 
Dey sure am stingers ! 

MoNA. They'll never touch us, Sam. 

Sam. I don't know. Miss. Mr. Bohannan, he 
sure is way down in de dumps — yes's, indeedy ! 

MoNA. You must hold the thought of victory, 
Sam. 

Sam. Yes'm, I'se a holdin' it, but it's sort of 
wrigglin'. {E.vit Sam r.) 

Maid. {At door) Mr. Reeves, Miss. 



THE GIRL AND THE PENNANT 41 

(Enter Punch.) 

MoNA. Oh! You just went home! 

Punch. I know, but — am I too early? 

MoNA. Not at all. Fm always glad to see you. 

Punch. Always glad! Morning, noon and night, 
eh? You see, Pve figured it out that if Fm here all 
the time, sometime we're going to have a chance to 
talk alone. 

MoNA. Must we talk alone? 

Punch. I must. 

MoNA. (Laughing) Oh, very well, then, Fll 
leave you. 

Punch. Oh, I say — -why won't you ever give me 
a chance? 

MoNA. I don't have to, you have a way of taking 
chances for yourself. (She sits on szvinging seat 
and he stands in front of her) 

Punch. I have to: luck and I haven't been on 
speaking terms for some years. I have to look out 
for myself. 

MoNA. Well, isn't that what everyone wants you 
to do, look out for yourself? 

Punch. Well, haven't I? I haven't fallen off 
since you — you asked me not to last Spring down in 
Texas. 

MoNA. It's been a long, dry summer, hasn't it? 

Punch. It's been short. Different from any 
other summer in my life. I — I never had an in- 
centive before — to be decent. 

MoNA. No incentive ! You only have to be — 
sensible for six months to get your share of your 
father's money. 

Punch. Money ! I don't care about money. 

MoNA. Except spending it ! 

Punch. Well, why not? If a fellow has it? 
You wouldn't want me to be like Cop, would you? 

MoNA. No, I should not want you to be like Cop. 



42 THE GIRL AND THE PENNANT 

Punch. Not that Cop isn't all right. In fact, he's 
been rather generous. 

MoNA. Generous ! Hni ! 

Punch. In his way — though, of course, it's 
awfully humiliating to have to go to him for every- 
thing. 

MoNA. Why do 3-ou give him that satisfaction? 
I'd live on my salary if I were you. 

Punch. My salary ! Oh, that's all right for 
some of the fellows, but I get invited around a lot. 
Have to hold up my end. My position — you under- 
stand ! 

MoNA. I think it was a ridiculous will of your 
father's. How is anyone going to prove that he 
hasn't taken anything to drink for six months ? 

Punch. That's where Cop comes in. 

MoNA. Hm ! Wastes his time in base-ball to spy 
on you. 

P'uNCH. Pretty rotten, isn't it ? But I don't want 
to talk about Cop. 

MoNA. Neither do I — but I just think of him all 
the time. 

Punch. You do, eh? I don't know that I like 
that. 

MoNA. Oh, I mean I can't bear him ! 

Punch. I brought along that photograph of 
yours. You promised to write something on it. {He 
takes photograph from pocket) Here's my fountain 
pen. 

Mona. I don't know what to say. 

Punch. Something encouraging. 

Mona. I don't know that I want to encourage 
you in that way ! 

Punch. Mona, don't you care — not — not at all ? 

Mona. {Writing) Come to me when the six 
months are over and perhaps 

Punch. {Taking photograph) I'm not wildly 



THE GIRL AND THE PENNANT 43 

enthusiastic about that "perhaps " — but it's some- 
thing ! 

MoNA. Punch, you mustn't think — you mustn't 
feel sure, because — I — Em really not sure myself. 

Punch. Ell take care of that. Ell make you 
care ! {He puts photograph in pocket as Alice 
TiLTON comes out on loggia) 

Alice. Mona ! Oh ! How do you do, Mr. 
Reeves ! 

Punch. Pretty fit, thanks. 

Alice. (To Mona) The girls have come. 

MoNA. Oh, have they ! You'll excuse me, won't 
3'ou? (She goes tozvard door) 

Alice. They're up in your dressing-room. 

Mona. Ell be back in a few moments. (She 
goes in) 

Alice. My goodness, Mr. Reeves, you're getting 
to be a regular fixture round here ! 

Punch. Can you blame me, considering the at- 
tractions ? 

Alice. Oh, go on, now ! You don't mean me ! 
(She sits in swing, evidently ready for an inter- 
esting flirtation) 

Punch. Who else? 

Alice. I think you're a regular jollier. 

Punch. You don't like a fellow when he's telling 
the truth. 

Alice. Well, men are so deceitful ! I was 
engaged to three different men once, and do you 
know what I found out? Every one of them was 
engaged to another girl! If you don't call that de- 
ceitful ! 

Punch. Three men, eh ! Talk about being a 
jollier! 

Alice. Oh, but that was when I was young. 
I'm diflferent now. (She looks at him from under 
her lashes) 



44 THE GIRL AND THE PENNANT 

Punch. (Bending tozvard her) Don't change 
any more. You're just perfect. 

Skeets. (Who has entered at r., unobserved) 
Say, won't somebody notice me? 

Altce. Oh, hello Skeets! When did you come? 

Skeets. They put me under the door with the 
early morning papers. I see, Punch arrived with the 
milk-man. There's no use talking, Punch, you're a 
pest. 

Alice. Have the other men come? 

Skeets. They have. They're anchored down by 
that red and white lunch wagon. I left Sam fighting 
them away from the punch bowl. They've got pink 
tea hydrophobia. 

Punch. Trifle mixed, Skeets. 

Skeets. Well, what's tea but spoiled water ! 
Anyway, it isn't the tea they are afraid of — it's 
sassiety. Awful stunt Miss Fitzgerald's asking the 
club to do. She'd better not introduce any of her 
friends to 'em, they'd bite 'em. 

Alice. Why, didn't they want to come to the 
tea ? I think it was a perfectly lovely idea ! 
(BoHANNAN enters r.) Oh, how-de-do, Mr. 
Bohannan? Come right up. Don't you think it was 
a perfectly lovely idea asking the team to meet our 
friends ? 

Bohannan. Excellent idea, indeed! Furnishes 
amusement to the newspapers ! I see one of the 
afternoon sheets is featuring it, under the head of 
" The Eagles are Fluttering in the Dove Cote." 

Alice. Well, I think that's real cute. 

Bohannan. Is Miss Fitzgerald anywhere about? 

Alice. I'll call her. She's upstairs with the girls. 
(Goes tozvard door) Oh, Skeets, don't forget what 
you promised me? 

Skeets. I won't! What was it? 

Alice. Oh, you know very well! {She exits) 

Skeets. {To Punch) She's got all my Tiflfany 



THE GIRL AND THE PENNANT 45 

ice. I'll bet she's after my Tecla. (Feeling his 
scarf pill) 

(BoiiANNAN sits grimly in chair. Punch and 
Skeets look at him and exchange a grin and 
wink. BoHANNAN ctttches the look between 
them.) 

BoHANNAN. I suppose you think it's funny ! The 
Club being made a national joke ! 

Skeets. Oh, far be it from me ! Let 'em laugh, 
it doesn't prevent our holding first place. 

BoiiANMAN. All this girl business ! We're 
getting to be a regular side-show. That's what. 
Field boxes packed with screeching females. It's 
demoralized the whole team. 

Skeets. Don't demoralize me any. When I hear 
those sweet voices yelling " Skeets ", I go to it ! 

BoHANNAN. It's Spreading like a disease. 
AVaync's taking up bridge. Bridge ! And I found 
Pitman down in the club house yesterday practicing 
the Tango ! 

Boys. Pitman ! Ha ! Ha ! 

BoHANNAN. It's nothing to laugh at. We've lost 
two important games by it ! 

Skeets. Oh ! Was that why we lost the games ? 

BoHANNAN. PIm ! I suppose you're joining the 
general chorus that's yapping about my lack of judg- 
ment ! (He rises) 

Skeets. Oh, no ! I didn't mean that ! 

BoHANNAN. Fine thing! My own team sitting 
in judgment on me. Well, I might have expected it ! 
[He goes gloomily off tozvard r.) 

Skeets. (In a lozv tone to Punch) Gee! He 
ought to hire out as a mourner. W^hat's the matter 
with him? 

Punch. That's what everybody wants to know. 



4-6 THE GIRL AND THE PENNANT 

Skeets. He can't even get up a good healthy- 
grouch any more. Lost all his ginger ! 

Punch. He's taking the loss of those games to 
the Hornets pretty hard. 

Skeets. It was before that. Why, for six weeks 
he's been going around looking like an early 
Christian martyr. I'm expecting him to weep on 
my shoulder any old day. 

MoNA. (At doorzvay, zvith girls back of her) 
Girls, Alice will take you out by the front. There's 
a platform by the tennis courts for dancing. 

Girls. Oh, lovely, in the open air ! How per- 
fectly delightful! (They go from door through 
house, chattering and laiigJiing. Mona comes out. 
Alice thrusts her head out and calls to Skeets) 

Alice. OO — OO, Skeets ! (She beckons, and 
Skeets runs off after her) 

(BoHANNAN re-enters r.) 

Mona. Oh, Mr. Bohannan, it is good of you to 
have come. 

Bohannan. Not at all. I'm delighted. 

Mona. I was afraid you didn't like the idea. 
I've invited Mr. Welland just for you. 

Bohannan. Welland? 

Mona. Yes, the owner of the Hornets. I met 
him at the Park the other day. I thought he'd be 
nice for you to talk to, if you found us too 
frivolous. Shall we go down to the Marquee? I 
want to welcome all the men. (As Punch, Mona 
and Bohannan go dozvn steps, Pitman enters from 
R. He looks rather uncomfortable in his best 
clothes) 

Mona. How do you do, Mr. Pitman ! 

Pitman. Fine ! Where do I go ? 

Mona. Oh, just make yourself at home. I'll 
introduce some of the girls to you presently. 
(Mona, Punch, and Bohannan go off) 



THE GIRL AND THE PENNANT 47 

(Pitman looks about intimidated by the surround- 
ings. Comes up on loggia. Sits for a moment 
on a little straight-backed chair. Finds it un- 
comfortable. Gets up, examines it, and going 
over, sits in szving, szvinging and grinning to 
himself. A maid comes out ivith tea-tray.) 

Pitman. Fine day. 

J}<Iaid. Yes, sir. (Without taking any further 
notice of Pitman, she goes in again after putting 
tray with lighted samovar on table) 

Pitman. Hm! Mighty unsociable. (Music in 
front of house begins to play a dance tune. Pitman 
perks up. Listens. It is a one-step. He gets up 
and takes a fezu steps, holding on to an imaginary 
partner. Miss Squibbs comes from house) 

Miss SouiBBS. V/ell ! What's that you're doing? 

Pitman. I don't know, ma'am. They tell me 
that's the Tango. 

Miss Squibbs. Well, I always heard it was a dis- 
graceful exhibition. A man of your age, too ! 

Pitman. I don't see why you're always rubbin' 
my age in, ma'am ! 

Miss Squibbs. Because it's ridiculous, you play- 
ing about with a ball like a dirty-faced school boy ! 

Pitman. Is my face dirty? I used a whole cake 
of ivory getting ready for this ! 

Miss Squibbs. You ought to be settled in life, 
with your children about you. 

Pitman. Can't: ain't got any cliildren. 

Miss Squibbs. Why not? 

Pitman. I ain't never been married, and I ain't 
led no gay life neither. Ever since Old Fitz dis- 
covered me in a grocery store playing on the 
Dinwiddie team, I ain't had no interests outside 
base-ball. 

Miss Squibbs. You should have stayed in the 
grocery store : you might have owned it by now. 



48 THE GIRL AND THE PENNANT 

Pitman. No, ma'am, I wouldn't. 

Miss Squibbs. Why not? Drink, I suppose? 

Pitman. No'm, store burned down. 

Miss Squibbs. Well, of course, it isn't my affair, 
but if you keep on, you'll end in the poor-house. 

Pitman. Who, me? Why, I got a farm out in 
Kentucky raising thoroughbreds, enough to make 
August Belmont's mouth water. 

Miss Squibbs. I wouldn't have believed it ! 

Pitman. Yes, ma'am, and my bank book's so 
full of figures I can hardly shut it. I ain't fancy, 
but Fm a good proposition, I am! 

Maid. (At door) Mr. Henry Welland. 

(Welland enters from house.) 

Pitman. Oh ! Hello, Hank ! 

Welland. Why, how do you do. Pitman ! Well ! 
Well! Ha! Ha! 

Pitman. Oh, grin away, Welland. You've got it 
on us all right. 

Miss Squibbs. Hm! 

Pitman. Oh, this is Henry Welland, Miss 
Squibbs. Owner of the Hornets. Come to have the 
laugh on us for doing the skirt business, I reckon. 

Miss Squibbs. It's a great boon to have a merry 
disposition. I'll tell Miss Fitzgerald you're here. 

Welland. Thank you. 

(Miss Squibbs goes doivn steps into garden.) 

Pitman. Ain't she different from anything ! I 
reckon I'll trail after her. She certainly does give 
it to me, but I ain't got sense enough not to come 
back for more. (Follozvs Miss Squibbs down 
steps and encounters Cop) Hi, Cop, some place 
this! 

Cop. And then some. (Pitman goes off r. Cop 



THE GIRL AND THE PENNANT 49 

comes up on loggia. Sees Welland, and hesitates) 
Good-afternoon, Mr. Hornet — I mean Mr. Wel- 
land! 

Welland. Oh, good afternoon. This is Punch 
Reeves, isn't it? 

Cop. No. Only the common or garden Reeves, 
Copley. 

Welland. Oh ! All men look alike in uniform 
on the field. 

Cop. Don't think you ever saw me on the field ! 

Welland. No? What's the matter? 

Cop. Bohannan can't use me. I'm all calloused 
from sitting on the bench for two years. 

Welland. Ha! Ha! Too bad. Thought I'd 
seen you somewhere ! 

Cop. Perhaps it was in Texas when you were 
down there last Spring. 

Welland. Texas ? Texas ? 

Cop. Large state on the border of Mexico. 

Welland. Oh, I — you're mistaken. I wasn't 
down there. 

Cop. Well, look here. You ought to be careful. 
You've got a double. 

Welland. A double ! 

Cop. Yes, sir. I saw him. Got a twin brother? 

Welland. Haven't any brothers. 

Cop. Might have been Taft. I saw you — him — 
Trailed along after Sam when he took those birds 
from Bohannan to your — to his private car. 

Welland. Bohannan? Never met Bohannan. 
He's the only manager in the league I don't know 
personally. Funny thing, isn't it I 

Cop. Screamingly ! 

(Bohannan enters r.) 

Bohannan. Oh, how d'ye do, Welland ! 
Cop. Mr. Bohannan, Mr. Welland. Shake hands 
with the one manager you don't know. 



so THE GIRL AND THE PENNANT 

BoHANNAN. Don't kiiow ! Why, Cop, I knew 
Welland before you v/ere out of short pants. 

Cop. (Going tozvards steps) Mr. Welland ought 
to do something for that memory of his. (Cop goes 

0#R.) 

BoiiANNAN. What's he mean? 

Welland. You put your foot in it nicely. That 
fellow knows about my trip to Texas. I just 
denied it and told him I didn't know you. 

Boiiaknan. He knov/s about? 

Welland. Oh, don't let that worry you ! 

BoHANNA. Worry! Worry! I do nothing else, 
day and night, but worry. I tell you, Welland, it 
can't be pulled off — it can't ! 

Welland. Oh, yes, it can. I'm not losing any 
appetite over it ! 

BoiiANNAN. Look at the squeal that went up 
last week when I put Walters in against you. There 
v/asn't a sheet in town that didn't give me a panning. 

V/elland. Ha ! Ha ! I thought the fans would 
tear up the benches. 

Bohannan. Looks funny to you, doesn't it? 
Even Forbes, I can't get by with him. They yelled 
him out in the second inning. I can't lose any more 
to you that way ! 

Welland. Well, you don't have to. I don't care 
how you drop a couple of games now. You've got 
a week yet. 

Bohannan. I can't do it, I tell you. It can't be 
done ! 

Welland. Look here, Bohannan, you'll never be 
a rich man- — you're too nervous ! Why, , I live in 
tight places. You're playing a big game for big 
stakes. You ought to be having the time of your 
life. What if the fans do squeal, you've got the 
ladies with you? (Grinning) 

Bohannan. Miss Fitzgerald's a good sport. I 



THE GIRL AND THE PENNANT 51 

hate to double-cross her. I was sore when I went 
into this : I didn't reaHze 

Welland. Ha ! Ha ! Well, who'd have thought 
it ! You, the woman-hater — falling for an ingenue. 

BoHANNAN. She's in a bad way financially, too — 

Welland. Look here, Bohannan, you can't get 
cold feet on this proposition ! I'm a good-natured 
man, but you can't hand me a laugh on myself ! 
You try to welch on me, and I'll rim you out of 
base-ball ! 

BoHANNAX. {Gloomily) It might be the best 
thing you can do. Base-ball's a white man's game. 

Welland. Oh, come, now. Don't let us quarrel. 
We've got to stand together. If you can't do it, you 
can't, but I know you'll try. You're not a man to go 
back on your word. 

Bohannan. Honor among thieves, eh? 

Welland. Hard words break no bones, and mine 
are well cushioned, anyway. 

Bohannan. And now Cop's wise. He's no- 
body's fool. He's been watching me all season. I 
felt it. 

Welland. Nonsense ! What if he does know of 
my trip to Texas? Nothing criminal in that, is 
there? Ha! Ha! I know how to gag him. I'll 
buy him. Put him in the back window where there 
v/on't be so much to see. Ha ! Ha ! 

Bopiannan. Welland ! My God ! Give me a 
chance ! Let me out of this thing. I'll pay you what 
I owe you — gradually. I'll work 

Welland. Well, just hand the twenty-five thou- 
sand over to-day ! 

Bohannan. You know I can't do that. The 
stock in United Realty was bought with the under- 
standing that we'd hold it six months. I've been 
to everybody to try to get money, but my debts — my 
credit isn't 



52 THE GIRL AND THE PENNANT 

Welland. Your credit'll be O. K. at the end of 
this season. 

BoHANNAN. The end of the season! I tell you 
I'd rather be a pauper, and know I'd been square. 
I 

MoNA. (Welland has zvalked to the right and 
makes a motion to Bohannan to signify that some- 
one is coming. Mona enters at r.) Well, Mr. 
Welland. This is an honor! You know Mr. 
Bohannan, of course ! 

Welland. Oh, yes, but I wish you'd take him 
away, Miss Fitzgerald. He's been sitting here crow- 
ing over me, because you're two games ahead of us 
for the pennant. 

Mona. You must expect that in the enemy's 
camp. But we're flying a flag of truce to-day. 
We're not going to discuss base-ball. 

Welland. Only for a moment, if you'll excuse 
me. I just made a big proposition to Bohannan for 
Reeves and he doesn't want to let him go. 

Mona. Of course he doesn't. Why, Punch is our 
star pitcher. You know that ! 

Welland. Oh, not Punch. The other one, 
Copley. 

Mona. Copley Reeves ! Why, what do you want 
him for? 

Welland. Oh, I can use him ! 

Mona. Well, I leave all that sort of thing to 
Mr. Bohannan. Though it's rather late in the 
season, isn't it? 

Welland. Never too late to go after what you 
want. 

MoNA. If you want him so badly, I don't think 
we'll sell him. Too dangerous a time, isn't it, Mr. 
Bohannan ? 

Bohannan. (Uneasily) I don't know — I — we 
might talk it over. (Chatter of girls and men off r.) 

Mona. Well, if you want to talk, you'd better go 



THE GIRL AND THE PENNANT 53 

into the living room, where you can be by your- 
selves. This way. (She opens door to house) I'll 
send you something long and cool. (She presses 
bell on porch) 

Welland. Fine ! I'm looking for quite a heated 
argument. (Bohannan and Welland go in) 

(Skeets, Wayne, Alice, Copley Reeves, and tzvo 
girls enter r.) 

Alice. Only fault I have to find with base-ball 
men, they don't wear any buttons on their uniform. 

Cop. We'll have to see the Committee about that. 
• Alice. I'm making a collection of brass buttons 
for a belt. 

MoNA. (To maid, who has come in response to 
her ring) Serve two mint juleps to the gentlemen in 
the living room. (Maid exits. To girls and men 
who have come up on loggia) Who wants tea? 
(She seats herself at tea table) 

Skeets. I'm willing to try anything once. 

MoNA. Well, try making yourself useful and 
hand this around. (Mona busies herself pouring 
tea and Skeets hands it about. Other players come 
in gradually. Most of them show themselves to be 
embarrassed and rather azvkzvard at the unusual 
function. Hands their tea cups gingerly) 

Alice. (To Copley Reeves) Oh, what a pretty 
fob ! Oh ! It's in the shape of a base-ball mitt, 
isn't it? Look, Florence, it has a big pearl in the 
center. Where'd you get it? Can you buy them 
like this? 

Cop. I — don't think so. That was given me by 
my team at college. 

Alice, Oh, yes, you were captain, weren't you ! 
Take it ofif. Let me look at it closer. 

Skeets. (To Mona) If Cop's wise, he'll tell her 
it isn't detachable. 



54 THE GIRL AND THE PENNANT 

MoNA. Hm ! I notice she's wearing your scarf 
pin. 

Skeets. That's why : I know. 

Alice. (After Cop has detached fob and Iianded 
it to her) I'm just wild to go to Yale. It's the only 
college I haven't a souvenir from. 

Cop. (Reaching for the fob, ivhicJi she draivs oiit 
of his reach) I'll — I'll — get you something. A 
banner or — or a nice fat pillow ! 

Alice. Oh, I've got so many banners and pillows 
now. I want something more personal. (Slie tries 
the fob against the front of her gozvn) 

(MoNA bangs a cup doivn hard. She shozvs all 
through this scene that she doesn't like Alice's 
flirtation witJi Cop.) 

Florence. (One of the girls — to Wayne) Oh, I 
think Punch Reeves is simply divine when he stands 
up in the pitcher's hole ! 

Wayne. Box. 

Florence. Oh, yes, box. And I think Mr. 
Marvin is too cute when he slides along on his 
stomach and puts his head on the little pillow. 

Wayne. Yeh, that's where Skeets goes to sleep. 

Skeets. Yes, while you're cutting loop-holes in 
the ozone. 

Florence. Loop-holes? I didn't see those. I 
seem to miss a lot of things. Somebody told me that 
Punch let loose a humming-bird right in the middle 
of the game the other day. I didn't see it. 

Skeets. It was so small and swift! (Skeets 
has handed tea to every one, then Mona gives him 
his) Do I have to drink this? 

MoNA. Not if it pains you. 

Skeets. Only objection to tea is it hasn't any 
bite. 

MoNA. Let me give you some lemon. 



THE GIRL AND THE PENNANT 55 

Skeets. Everybody does that to me. 

Alice. {Has finally captured Cop's fob. Al- 
though throiigJi the above dialogue, he has offered 
her his pen-knife, his zvatch, everything he carries, 
she finally gets the fob) Oh, thank you, Mr. 
Reeves ! (She attaches it to her necklace) Anyway, 
'^ don't hke to see men wear jewelry, do you ? 

Lj?. You don't see 'em wear it long, do you? 

Alice. Oh, no, it's such bad taste. I always 
point it out to them. That is, if I am really in- 
terested in the men. 

Cop. You know, I like you. I do like you. 
With a wife like you a fellow wouldn't have to 
hustle for a living at all. 

MoNA. (Sarcastically) And that would suit you 
admirably, wouldn't it, Mr. Reeves ! 

Cop. Er — I — don't know. Would it? 

(Music outside.) 

Skeets. Oh ! Listen to the band ! This is ours, 
aHss Tilford. 

Alice. Yes, but you'll have to split it with Mr. 
Wayne. I promised to teach him. Come on, every- 
body. Don't let's miss any of this. (Gv'U and 
men rise and go hastily through Jiouse) Aren't you 
coming, Mr. Reeves? 

Cop. No, thanks! (Cop is left on stage zvitli 
Mona) 

MoNA. Don't you dance. Mr. Reeves ? 

Cop. I've learned to go through the motions, but 
I don't seem to time them right. 

MoNA. A little like your performance in base- 
ball, isn't it? 

Cop. That's right ! Strike me ! 

MoNA. That was unkind of me. I take it back. 

Cop. Oh, don't! I'm getting so used to it. If 
you didn't give m.e a bruise now and then, I'd feel 
lonesome. 



56 THE GIRL AND THE PENNANT 

MoNA. I'm sure I don't mean to hurt you. 
Cop. I like it, honestly. Suppose you didn't 
take any notice of me at all? I'd feel flattered. 
MoNA. You needn't. 
Cop. I know I needn't, I want to. 

{There is a moment's silence, zvhile Mona pretends 
to be very busy with tea-thinas.) 

Mona. I wonder if you remember a birthday 
party I had in Albany ! I was twelve or thirteen. 

Cop. Remember! Why I — you had on a pink 
dress ! Something shiny ! 

Mona. Fancy your remembering that! Punch 
couldn't even recall the party. 

Cop. He ought to : why, I gave him the best lick- 
ing of his life that day for swiping the roses I'd — 
I mean, I didn't bring you anything ! Punch brought 
you some roses. 

Mona. Do you know what made me think of 
that party just now? 

Cop. Wait a moment. I'm flattering myself 
some more — can it be that it was I who made you 
think of so agreeable an occasion? 

Mona. Yes, by contrast. 

Cop. Foul ball ! 

Mona. You were so different then. Everybody 
thought you were going to do great things. Only 
eighteen and a real college man. You looked six 
feet tall to me. 

Cop. And now you can't see me at all, can you? 

Mona. You told me you were going into politics. 
Reform and all that. Me a little girl. I was so 
flattered ! 

Cop. I must have been a conceited young ass. 

Mona. Oh, no, you wern't: I like you. 

Cop. Extraordinary ! 

Mona. Yes, wasn't it ? I mean — you've changed 



THE GIRL AND THE PENNANT 57 

so much — that is — (She rises hastily, dropping her 
handkerchief) Really, I must see to my guests. I 
wonder if they're having a good time! 

Cop. Oh, we're all having a very, very fine time ! 
(Cop picks up handkerchief zvhich Mona has 
dropped, crushes it in his hand and keeps it. She 
goes to R.) 

Mona. (Turning from r.) Oh, there's some- 
thing I must tell you, something you won't like, 
perhap's ! 

Cop. Go on — this time I take the count. 

Mona. You mustn't think there's anything per- 
sonal in it, if we— if Mr. Bohannan — in fact, the 
Hornets want you. 

Cop. What's the matter with the Hornets, haven't 
they handicap enough? 

Mona. It's not a joke. W'eve had an offer from 
Mr. Welland. 

Cop. Oh, I thought I heard the rattle of the tin 
can Bohannan wanted to tie to me. 

Mona. Nothing of the kind. The proposition 
came entirely unsolicited from Mr. Welland. 

Cop. Oh, that's it, is it ? Well, I can't leave the 
Eagles now. Don't consent to it, Miss Fitzgerald, 
will you? 

Mona. Why — Punch is all right now ! 

Cop. Oh, it isn't Punch. You've done wonders 
for him. He don't need me any more. Punch is all 
right. I've wanted to thank you for all you've done 
for him ! 

Mona. Then you really are glad that Punch has 
— has stood out so long? 

Cop. Glad ! You don't think, you can't think, I 
don't want him to ! 

Mona. It's not what I think, it's what every- 
body says. 

Cop. Oh, they say that, do they? And you be- 
lieved that? 



58 THE GIRL AND THE PENNANT 

MoNA. I didn't know what to believe. I thought 
you ought to trust Punch. I couldn't understand 
your staying in the club. I don't understand it now. 
You have so much money, it can't be for the small 
salary you get. You have business interests. Lots 
of them. Punch told me that you are in four or 
five companies. I should think you'd rather be at- 
tending to them than wasting your time with us. 

(Enter Punch.) 

Punch. Oh, there you are ! Fve been looking 
for you everywhere. What's up ? 

MoNA. Mr. Welland wants to buy your brother, 
and he doesn't want to go. 

Punch. Buy Cop! Ha! Ha! Ha! 

Cop. The laugh's on Welland, isn't it? 

Punch. Oh, I don't know. You're a good pinch 
hitter and the Hornets are none too strong at the 
bat! 

MoNA. You may have a better chance with the 
Hornets. You know, if Mr. Bohannan once gets an 
idea into his head 

Cop. Pm not looking for chances. HI get out 
of the Eagles, I get out of base-ball. 

Punch. Oh, play the game. Cop, play the game, 
don't sulk ! (To Mona) I say, you're not going to 
stay up here all the afternoon are you? You 
promised me a bunch of dances, and you haven't 
given me one. 

Mona. Well, I suppose I needn't stay. No one 
seems to want tea. (She goes tozvard door with 
Punch. Feels sorry for Co?) Won't you — won't 
you come, too, Mr, Reeves? 

Cop. No, thanks — I guess you don't need me. 
(They go off. Cop unclenches his hand and looks 
at Mona's handkerchief. He goes over and sits, 
still looking at handkerchief) 



THE GIRL AND THE PENNANT 59 

stage talking, and exit r.) 
(Miss Squibbs and Pitman enter l., zvalk across 

Miss Squibbs. No, Mr. Pitman, no! I refuse 
absolutely ! 

Pitman. Ah, come on. Give it a try. You only 
have to wiggle your shoulders and shuffle your feet. 
'Tain't nothing else to it. 

Miss Squibbs. I've never wiggled my shoulders 
in my life ! 

Pitman. You ought to. They'll get stiff. {As 
they exit, Bohannan and Welland re-enter from 
house. Cop puts handkerchief in his pocket) 
pocket) 

Welland. Why, here's the young man now. I 
offer you my congratulations, Mr. Reeves. (He 
puts his hand out, hut Cop does not take it) 

Cop. That so? What for? 

Welland. You're a member of the Hornets, or 
will be as soon as the papers are signed. And not a 
bench member either. We don't overlook good 
material. 

Cop. No, I can't see you overlooking anything 
to your advantage. 

Welland. I know your record at college. I be- 
lieve you've got something. Only wants bringing 
out. We'll make Bohannan repent his bargain. {He 
gives Cop a hearty slap on the shoulder) 

Cop. {Giving him a harder slap in return) Oh, 
yes, we'll try to make Bohannan repent ! 

Welland. That's right. You've got sand, my 
boy! 

Cop. Yes, but not in my eyes. 

Welland. Eh? Oh, good, that! Ha! Ha! 
Well, I've got to get along. Only had time for a 
look-in to-day. I'll hunt up Miss Fitzgerald and 
say good-bye. 



6o THE GIRL AND THE PENNANT 

BonANNAN. {Who doesn't want to he left alone 
ivith Cop) I'll go with you. 

Welland. Oh, no ! \ can find my way about. 
So long — so long, young fellow. You've come to the 
turning-point. 

Cop. Yes, even a worm will. 

(Welland goes off.) 

BoHANNAN. (Uneasily) You mustn't feel sore 
Cop, I — — 

Cop. (Looking after Welland) Say — it's a pity 
to see a man like that in base-ball ! 

BoiiANNAN. Who, Welland? 

Cop. It's always been such a clean sport ! 

BoiiANNAN. Yes— it has — it is — I don't see how 
Welland can change it ! 

Cop. He can't, but he'll try. Why, Welland 
couldn't bear to see a plumb-line hang straight But 
he won't last long. We've got a thousand detectives 
on the grand-stand every day. 

BoHANNAN. Detectives ! 

Cop. Fans. You can't fool 'em. 

BoHANNAN. Who wants to? 

Cop. Not you, of course ! Brought up in base- 
ball under old Fitz. Why, you and he and a few 
others made base-ball what it is to-day : a clean 
sport. 

BoHANNAN. (Ashamed) Oh, I don't know, 
that I — I had much to do with it ! 

Cop. Sure, you did. I've read up on base-ball 
history. It was a pretty rummy old push before ic 
was whipped into shape and gained the public con- 
fidence. It would be hard to shake that confidence 
to-day. They know it's a clean game. They'd be 
wise in a minute to anything crooked. 

BoHANNAN. (Nervously) Yes — I'd — I'd be 
sorry for the man who tried it on. 



THE GIRL AND THE PENNANT 6i 

Cop. So would I — that's why I'm sorry for you 
now. 

(BoHANNAN li'lhG JiGs zvalkcd tozvard L., turns 
sharply, meets Cop's ga.':;e and, his face whiten- 
ing, reaches back of him for chair and sits 
heavily, looking at Cop.) 

BoiiANNAN. Sorry — for me? 

Cop. Bohannan, I've been waiting all season to 
see what you were going to give Welland for that 
twenty-five thousand he handed you in Texas. Now 
I know. 

Bohannan. I don't know what you're talking 
about. Twenty-five thousand? 

Cop. With which you bought a parcel in the 
United Realty Company. 

BoiiANNAN. United Realty Company ! What do 
you know about that? 

Cop. I'm the president of that Company. 

Bohannan. You — you 

Cop. I saw Welland's check endorsed by you ! 

Bohannan. You don't understand. Welland 
owed me that money. It — it was mine ! 

Cop. It's no use, Bohannan: I'm on. You've 
thrown three games to Welland. 

Bohannan. What — what are you going to do — 
about it, show me up? 

Cop. (Angry) I would. By God ! If it weren't 
for — Miss Fitzgerald ! You know she's in a hole. 
You know what it would mean to her — if the club — 
if the Eagles were let in for a scandal like this ! 

Bohannan. I know! I know! You needn't 
think I haven't regretted it. I can't sleep — I can 
see nothing at night but her face and old Fitz. If 
I could have throvN^n Welland's dirty money at him ! 
I tried to — United Realty wouldn't repurchase 

Cop. I know — they had my orders. 



62 THE GIRL AND THE PENNANT 

BoHANNAN. You wanted to — to queer me, then? 

Cop. I wanted to know your game. 

BoiiANNAN. I'll resign now. I'll get out. Say 
I'm ill 

Cop. No, you won't, you'll stick. And you'll 
play fair ! 

BoHANNAN. It's uo usc : lie's got it on mc. He 
has witnesses to a conversation we had two weeks 
ago before I lost those two games. I tried to crawl 
out then. I begged 

Cop. He can't use those witnesses. Where'd it 
land him? 

BoiiANNAN. I never thought of that. 

Cop. Of course, you didn't. He got you rattled. 
Bohannan, you weren't made for a game like this. 
Gad, I wouldn't talk to you now, if I hadn't seen 
how it's gone against the grain with you 

Bohannan. Against the grain ! Cop, you won't 
believe me, but I'd give every drop of blood in my 
body to the Eagles, if it would do any good, but — I 
took his money : he'll sue. He'll drag up old 
scandals. He's threatened to bring it before the 
Commission that I've been trying to queer the Club 
in order to buy it cheap for Freeman. He knows 
I can't tell the truth about it — he's got me. 

Cop. I'll purchase your holdings in United Realty 
to-day. 

Bohannan. You — you don't mean it? 

Cop. I'm going to give you a check for twenty- 
five thousand to send to Welland to-night. 

Bohannan. You — but why should you do this 
for me? 

Cop. I'm not doing it for you — I'm doing it for 
the Eagles and for — other reasons 

Bohannan. Cop ! You don't know what this 
means — I've been in Hell ! {Buries his face in his 
hands) 



THE GIRL AND THE PENNANT 63 

(Cop goes over to right in order to let Bohannan 
recover. Stands leaning against the pillar of 
pergola. Punch and Welland enter right. 
Welland has his hand on Punch's shoulder.) 

Welland. Yes, my boy, the little lady'll never 
let me rest until she meets you. 

Punch. Aw ! Nonsense. 

Welland. 'Pon my word. Every day it's the 
same thing : " When are you going to introduce 
Punch Reeves." 

Punch. Well, why don't you? Wouldn't pain 
me a bit. Fve seen her on the stage, and she's some 
bird! 

Welland. Ah ! On the stage ! Distance don't 
lend any enchantment to her view ! Wait a minute, 
Fve got her picture here. {He sits on bench to right 
of pergola and takes pocket-hook out, from zvhich he 
extracts a photograph) Some looker, eh? 
Punch. Is this a costume or a — er — bathing suit? 

Welland. Oh, just a little house-dress. Ha ! 
Ha ! I'll get up a little dinner some time soon — 

Cop. (Coming doivn) It'll have to be after the 
twentieth. 

(Punch and Welland start and look tozvard Cop, 
ivho is advancing to them.) 

Welland. Eh? Oh, yes, ha! ha! Of course, 
after the season's over! So long as your guardian 
won't let you go before. I don't want to make 
trouble in the family. 

Punch. (Savagely to Cop) I'll go whenever I 
like. I wish you'd attend to your own business ! 

Cop. (Turning away from them) I'm sorry. I 
didn't mean to butt in. 

(jMona comes out from, house. She does not see 
Cop, who is coming across to porch. Sees 
Bohannan.) 



64 THE GIRL AND THE PENNANT 

MoNA. Oh, you're not ill, are you? 

BoHANNAN. {Trying to smile) No — no! Only 
a slight headache. 

MoNA. I'm so sorry. I wanted to speak to you 
about — please don't be angry with me. I've been 
thinking things over, and — don't let him know that I 
asked you — but I don't want to let Copley Eeeves 
go! 

Cop. {Hearing this, springs eagerly up on porch) 
You mean you really want me to stay with the 
Eagles ! 

MoNA. Oh ! It isn't that I want you, but I'm 
rather used to seeing you sitting on the bench ! 

(Welland is shaking hands with Punch and 
slapping him jovially on the shoulder, as curtain 
descends.) 



ACT HI 

First Scene : Cop's and Punch's living-room in 
their apartment. It is set in about two. Manly, 
good-looking room, furnished zvith substantial 
leather furniture. Several pictures of team on 
walls and one big one of Punch. There is a 
door from hall-zvay l. 2, doors upper and lozver 
R. E. to Cop's and Punch's respective rooms. 
Two zvindows at back, through one of ivhich 
one can see a fire escape. 

When curtain rises. Cop is sitting alone. He 
is pale and haggard, chewing on an un-lit 
cigar. He takes out his zvatch. Looks at it. 
Gets up, strides nervously around the room. 
Goes over to telephone on table. He seems 
about to take it, changes his mind, goes to the 
luindozv, looks out. Goes over to rack and gets 



THE GIRL AND THE PENNANT 65 

his hat, and goes toward door as Skeets bursts 
in down-stage, excitedly. 

Skeets. Hi, Cop. We got him! 

Cop. Where ? 

Skeets. Hack. At the front door. 

Cop. Drive round to the back. Ask the janitor 
to let you bring him up in the freight-elevator. 

Skeets. Gee! He's got an awful one ! Ain't it 
the limit ! To-day of all days ! 

Cop. Where'd you find him? 

Skeets. Rainey's. Dead to the world. In the 
back room. 

Cop. You'll find everything ready in his room. 
You and Wayne'll have to fix him up. I — I don't 
want to see him. Goon. What are you looking at? 

Skeets. You look like Hell. I bet you been up 
all night. {He hastens out) 

{Telephone hells rings as Cop is going tozvard door 
R. L. E. He turns back and takes off receiver.) 

Cop. {Crossly) What is it! Oh! {Sudden 
change of tone) Oh, yes, Miss Fitzgerald. Yes. 
Punch is at home, but he isn't up yet. No — no he's 
perfectly well. {As he continues this conversation, 
he keeps one eye on the open door) Yes, yes, I'll 
tell him. Yes, I know we've got to use South Paws 
against the Flornets, but Punch'll be there with the 
goods. Don't you worry. It'll be all right. Excuse 
me. I've got to go. {He has heard noises in the 
hall, hastily puts up receiver, and almost runs into 
room R. L. E.) 

Wayne. {Outside) Say, can't you help a little? 
What's the matter with you ? 

Skeets. Aw, he's a dead- weight. {They enter 
zvith Punch betiveen them. He is pretty well all 
in. He has a long zvhite glove and a fan clinched in 
his hand) 



66 THE GIRL AND THE PENNANT 

Punch. Wha's matter? Lemme 'lone. 

Wayne. Come on now. Punch. 

Punch. A\'anna shee Welland. Welland's only 
fren' I got. Fine fat old lobster, Wellan'. Rah' for 
Welland! {He zvaves glove and fan; Skeets takes 
them frcin his hand and throivs them on table) 

Wayne. Come on, Punch, come on. Get to bed. 

Punch. Al' right. Put me in my little bed. I 
don' care ! {He collapses. Skeets and Wayne 
drag him to room r. u. e., his hat dropping from 
his head as they do so) 

Skeets. Gee! Ain't it the limit? 

Wayne. He ought to be shot, that's what. 
{They drag Punch into room) 

{In a moment Skeets appears at door.) 

Skeets. {Calling) Cop, Hi, Cop ! Wliere's the 
ice? 

Cop. {Appearing at door r. l. e.) In the bath- 
room. 

Skeets. {Calling back to Wayne in room) In 
the bath room, Wayne. {He comes into living room 
closing door after him) Wayne'll fix him up. Gee ! 
Cop, it's tough ! 

Cop. Tough ! 

Skeets. It was coming to him after the long dry 
spell, but wouldn't you think he'd have sense enough 
to have postponed it 'till to-morrow? 

Cop. He — it's that Welland's at the bottom of 
this ! I found this on the table when I got in last 
night. {He hands a note to Skeets. Skeets 
reads) 

Dear Reeves : 

We're giving that little supper I spoke of to-night. 
Can't put it off any longer. Company's taking to the 
road on Monday. The little lady will be there v/ith 
the bells on, and she says she'll join you in drink- 



THE GIRL AND THE PENNANT 67 

ing seltzer. That shows she's some anxious. Eh, 
what? Don't disappoint us. 

Welland. 

Skeets. That's Punch's trouble. He never could 
bear to disappoint a lady ! Why didn't you follow 
it up? 

Cop. I did. Been on the trail all night. They 
didn't stay any place very long. Went every place 
I knew — then I sent for you. 

Skeets. Gee! Pni no red-light directory ! Say, 
do you know what it looks like to me ? It looks like 
a frame-up. 

Cop. Take care. You'll get an idea in a minute. 

Skeets. You mean you really think Welland put 
this up on Punch? 

Cop. We had one chance to-day. \\'elland knew 
his team couldn't go up against left-handed pitch- 
ing. With Punch out of the game 

Skeets. There's McCracken. 

Cop. Wliat's the matter with you ! McCracken? 
Didn't he pitch yesterday? We can't put him in 
again to-day. If — if Punch is out of it, we haven't 
a decent South Paw left — except Pitman. 

Skeets. (Disgustedly) Pitman! 

(Wayne enters from Punch's room.) 

W'ayne. We may as well let him sleep a couple 
of hours. Can't do anything with him now. 

Skeets. Ain't we going to get him straightened 
up for the game ? Gee ! We got to ! 

Cop. We've got five hours. 

Skeets. But he'll be too shaky ! Gee ! But this 
is going to jar JVIiss Fitzgerald. 

Cop. (Fiercely) Miss Fitzgerald's not going to 
knov/ anything about it. You hear? Nobody is. 
It's between the three of us. 



68 THE GIRL AND THE PENNANT 

Wayne. Sure, Cop, sure. 

Cop. You fellows don't know. He's stuck it out 
for almost six months ! Only two weeks more — 
two weeks ! It's been Hell for him. He — I — that 
damn'd will's been hanging like a '^ad-weight on 
both of us. I won't— I'm not going to drag it 
around any longer. 

Skeets. You can't help it, can you? 

Cop. I was not to see Punch drunk for six 
months. Well, I haven't seen him. This — this 
wasn't his fault — he — was dragged into it. I'm — 
I'm going to forget it. 

Skeets. Gee ! 

M^AYNE. We'll all forget it. 

Cop. He's got to have his chance. I'll show you 
fellows something. {He goes over to mantel zvhere 
Mona's picture is, and taking it dozvn brings it over 
to them) Perhaps I shouldn't, but I want you to 
understand why — that it isn't entirely for him that 
I — want to hush this up. You see that? 

(Skeets takes picture.) 

Skeets. Miss Fitzgerald. Oh, yes, everybody 
knows he's all to the good there. 

(Cop takes it from him, and turning it over, hands 
it to Wayne.) 

Wayne. (Reading from back) "Come to me 
when the six months are over and perhaps " 

Skeets. Phew. I didn't know it had gone so far 
as that ! 

Wayne. You're right. Cop. This has got to be 
kept from her. 

Cop. You're not to tell anyone — anyone, you 
understand? (Knock at door) Come in. 

(Bohannan enters Jiastily.) 



THE GIRL AND THE PENNANT 69 

BOHANNAN. Oh, I- 



Cop. Come in, Mr. Bohaniian. Fellows are just 
going. 

Skeets. Yes, we're on our merry way. 

Wayne. I'll be back later, Reeves. 

Cop. All right, thanks. 

Skeets. Olive oil, Cop. Olive oil ! Gee ! Ain't 
it the limit! (Wayne and Skeets go out) 

BoHANNAN. Where's Punch? 

Cop. He's — not up yet. 

EoHANNAN. That's good. Let him rest. Every- 
thing depends on him to-day. I think we've got 'ern, 
Cop. Don't you? I think we've got 'em. 

Cop. Looks that way. 

BoHANNAN. Lucky for us the Hornets are weak 
against left-handed pitching, eh? Just works into 
our hands. I've been saving Punch for this — I'm so 
blamed nervous, I had to come over. I can't rest 
any place. 

Cop. Don't blame you. It's a close thing. A tie, 
and only one game to play. 

BoHANNAN. We'll win! We've got to! {Tele- 
phone bell rings) 

Cop. {Goes over to telephone) Yes — oh! Are 
they down-stairs? Will you ask them if they'll come 
up ? {Puts up receiver. Turning to Bohannan, as 
if very much surprised) It's — it's Miss Fitzgerald. 
She— she never came here before. I wonder ? 

Bohannan. I'd better go. 

Cop. Oh, no. Stay here. She won't want to see 
me alone. (Looks around room. Sees Punch's hat 
en floor. Picks it up, goes over and throzvs it in 
Punch's room, closing door. Sees glove on table, 
puts it in his pocket. Then goes over to door r., 
opens that, and tvaits a moment. One hears elevator 
stop at landing) This way, Miss Fitzgerald. Good- 
morninsf. 



70 THE GIRL AND THE PENNANT 

(MoNA enters, follozvcd by Alice.) 

MoNA. Oh, Mr. Reeves you'll think it strange 
my coming here— Oh, how do you do, Mr. 
Bohannan. 

BoiiANNAN. Good-morning. 

MoNA. (To Cop) I couldn't tell you over the 
'phone we were worried. 

Bohannan. Worried ! There's nothing to worry 
about — We've got 'em clinched ! 

MoNA. It isn't that. It's — it's about Punch. 
He— he promised to breakfast with us this morning. 
He — didn't — come. I 

Alice. We waited two hours ! 

Cop. Oh, that was my fault — I — er didn't you get 
Punch's note? 

MoNA. No. 

Cor. Funny. Well — er — you see. I — er — I 
needed him to — er — I was all in — thundering head- 
ache. Punch had to go for a doctor. 

MoNA. Oh — why, you do look ill. 

Cop. Do I ? Never felt better in my life. That 
is — I mean — You see, I get over these little attacks 
just like that. (Snapping his fingers) But this 
morning, you should have seen me this morning. 
Punch couldn't leave me. 

MoNA. But you told me over the 'phone that 
Punch was in bed. 

Cop, Well, you see, when I got out, he got in. 
Got to rest for the game ! 

MoNA. Oh, I'm so relieved, because — Of course, 
I didn't believe it, but some friends of mine, said 
they saw him late last night with some people and 
they were — were 

Alice. They were whooping it up dreadfully. 
That French dancer from the Garden was there and 
Punch was drinking out of her glass. 



THE GIRL AND THE PENNANT 71 

Cop. It couldn't have been Punch, sharing a glass 
— I mean, it wasn't Punch. 

Alice. Well, the man who told us knows all the 
base-ball men and he distinctly said he saw Mr. 
Reeves. 

Cop. Oh — Well, you know. There are two of us. 

iloNA. It — it was you ! 

Alice. My goodness gracious! 

Cop. I told you I had a headache this morning. 

MoNA. I wouldn't have believed it of you. 

Cop. No — would you? 

MoNA. And you posing as such a good example ! 

Cop. I knovv^. Go on. I deserve it. (He takes 
loiig glove from his pocket and begins mopping his 
face zvith if) 

Alice. Oh ! Tee-hee ! Pie's got her glove ! We 
hcai-d all about your taking that dancer home in a cab 
at three o'clock in the morning ! 

Cop. {Stuffing glove in pocket) Well, you see, 
I — I couldn't walk the lady. 

Alice. I guess you couldn't walk yourself. 

Cop. Pla ! Pla! About right, that. (Takes up 
fan from table and begins fanning himself vigor- 
ously) 

Alice. {Seeing fan and seizing it from Cop) 
Oh ! A souvenir from the Palais de Danse. Oh ! 
and you pretending not to care for anything like 
that ! Oh, I think it's too funny. Don't you, Mona, 
and we blaming poor Punch ! 

MoNA. I can't see anything funny in hypocrisy. 
I consider conduct like that a disgrace to the Eagles. 
It's fortunate you are so insignificant a member of 
the team. Come, Alice. {She goes to door and out) 

Alice. {Keeping fan) Oh, my ! she's real angry, 
isn't she? Myself, I don't care much for a man who 
hasn't a little life. 

Cop. Well, I'm a regular devil. You can see 
tlut ! 



-^2 THE GIRL AND THE PENNANT 

Alice. Oh, go on ! ( Goes tozcard door and sees 
a picture of Punch) Oh! what a divine picture of 
Punch ! Can I have it ? 

Cop. It was yours the minute you laid eyes on it. 

Alice. Oh, thanks. Haven't you got one of your 
own? 

MoNA. {Outside) Alice! 

Alice. Yes, I'm coming. My ! She's making a 
bigger fuss than when she thought it was Punch, 
Good-bye. {She goes out. Cop closes door and 
turns and faces Bohannan) 

(BoHANNAN has Tcalized as soon as Mona spoke 
of Punch, that Cop zvas shieldiiig him.) 

Bohannan. Where is he? 
Cop. In there. 

(Bohannan goes over, looks in Punch's room, 
closes door, and comes down.) 

Bohannan. Why didn't you tell me? 

Cop. I'll have him there for the game. 

Bohannan. It's all up. It's all up. He'll be in 
no condition ! We may as well throw up our hands. 

Cop. That don't do any good, Bohannan. Brace 
up. 

Bohannan. Brace up? You know what it 
means with Punch out of the game? Gad! I feel 
like putting a bullet in my head. If it weren't for 
me, we wouldn't be tied — we'd be two games ahead. 
It's all my fault. It's all my fault. 

Cop. Of course, it is ! But there's no use doing 
the baby act over it. {Goes over and gets his hat) 
Come on. 

Bohannan. Where? 

Cop. We've got to see Pitman. See what condi- 
tion he's in 



THE GIRL AND THE PENNANT 73 

BoHANNAN. Pitman! It's all up. It's all up. 

Cop. I haven't given up hopes of Punch yet. 
Come on, I've got to get back here and straighten 
him out. {He takes key from door. Bohannan 
goes out hopelessly. One hears Cop lock door and 
try it from the outside) 

{Out in the street one hears several neivs-boys cry- 
ing excitedly about the game.) 

News Boys. Pennant game to-day ! Eagles play 
Hornets deciding game ! All about the base-ball 
game ! 

(Punch's door opens slozdy. He comes out. He 
is trembling and unnerved. He goes across 
room to get siphon and a bottle of ginger ale. 
Pours some ginger ale in glass. Tastes it.) 

Punch. Bah! Ginger ale. Filthy slop I {Throivs 
ginger ale bottle out of zvindow. Goes over to Cop's 
room, calls huskily) Cop! Cop! {Goes into his 
room and presently appears zvith coat, into zvhich he 
is struggling) It's all Cop's fault. Spying on me. 
Watching me ! Fellow's got to have some liberty ! 
{Goes over to front door. Finds it locked. Kicks 
it angrily) Hah! Locked in like a damned kid! 
I'll show him ! I'll show him ! {He puts his 
shoulder against the door and tries to force it. Can't 
force door and turns, looking angrily about for 
something to batter it. Goes over to hat-rack be- 
tween two ivindozvs. Takes up a bat which is lean- 
ing there, and is going again toward door, when his 
eyes fall on fire-escape. He chuckles drunkcnly, 
dropping bat) Huh! Huh! Give him a scare. 
Serve him right fer lockin' me up. I'll give him the 
scare of his life. {Puts chair by zvindozv, and climbs 
out on the fire-escape as curtain descends) 



74 THE GIRL AND THE PENNANT 

Second Scene: A three -cornered space outside 
club-house at the playing grounds. Curtain goes 
up amidst a loud roar and noise from field. 
Must have four or five phonograph records of 
noise made at real games. Also have entire 
company for special shouts. All rise, Sam is 
running around the little enclosure. His hands 
to his ears. 

Sam. I don't dast look. I don't dast look! 

(Al Warren, the young ncK'spaper man, comes in 
through gate l. l. e. from outside Pork. He is 
very much excited.) 

Warren. Hi Sam, give us a tip. Where's Punch 
Reeves ? 

Sam. What's de score ? What's de score ? I don't 
dast look ! 

Warren. Two to one in favor of the Hornets. 

Sam. Oh, my lor! my lor! and de ninth innin' ! 

Warren. Look here, stop that merry-go-round. 
I want to find out something about Punch Reeves. 
Why didn't he show up? 

Sam. I dunno. I dunno! Mr. Cop couldn't find 
him. He's disappeared. I heard tell he's been kid- 
napped ! 

Warren. Kidnapped ? What 'you giving me ! 
Look here, I'll make it worth your while. You must 
know why they put in a dead one like Pitman for a 
pennant game. 

Sam. Pie's de only South Paw we got. He ain't 
done so bad. He had it on de ball at first ! 

Warren. That crowd out there'll kill Bohannan ! 
{Very loud noise from field. Warren runs over 
to gate, opens it and looks out) Marvin's hurt. 
They're bringing him in. 

Sam. Skeets? Not Skeets I 



THE GIRL AND THE PENNANT 75 
(Tzvo players help Skeets /;; from field.) 

Skeets. I tell you, I'm not hurt. I tell you, I'm 
all right. Let me go back. I'm only spiked. 

Player. Aw. Shut up ! 

Skeets. I only need a bandage. It ain't sprained. 
It can't be sprained. I got to stay in! (They half 
carry him across to the club-house . Sam helps one 
of the fellows into club zvith Skeets, and the other 
turns and runs again tozvard gate) Warren. Hurt 
bad? 

Player. Ankle sprained. That damned cow of a 
McPherson sat on it. We're done for, all right. 
(He rushes out) 

(Warren runs over to gate to outside. As he 
opens it, Mona appears.) 

Warren. This is the club, Miss Fitzgerald. 
You 

Mona. I can't help it. I couldn't stay out there 
another minute. What's happened to Skeets? 

Warren. Ankle sprained. Say, do you know 
anything about Punch Reeves? 

Mona. No! No! I don't. (He runs out) 

(Other player ivho has helped Skeets into club- 
house, rushes out again and through gate to 
field. As Mona goes toward club-house , Sam 
helps Skeets out to porch and to chair there.) 

Skeets. Get to Hell away from me ! My leg'U 
keep. Get over there to the gate and tell me what 
they're doing. (Sam runs over to gate to field) 
Oh, Miss Fitzgerald ! It's all up ! It's all up ! 

Mona. You're dreadfully hurt. 

Skeets. I'm not. They oughter let me stay in. 
They oughter let me stay in. (He is frankly crying) 

Mona. What are they doing, Sam? 



76 THE GIRL AND THE PENNANT 

Sam. Everybody's holding deir brefs. Bohan- 
nan's jawin' de umpire. 

Skeets. He's markin' time. He don't know 
what to do. Oh, Lord, to think of our having to use 
Pitman for a game Hke this ! 

MoNA. He was all right up to the fifth, but he's 
gone to pieces. 

Skeets. If we only had Punch. If we only had 
Punch ! 

MoNA. (Excitedly) Where is Punch? Won't 
anybody tell me? Skeets, you know. You must 
know. Has he — oh, Skeets — has he been drinking? 

Skeets. I don't know anything about him. (A 
loud noise from crozvd in field) What's that? 
What's that? 

Sam. They're yelling Pitman out ! Oh, my Lor' ! 
Three balls and only one strike. Dey got us ! Dey 
got us! {Cries outside) Take him out! Take him 
him out ! Take him out ! 

MoNA. (Rushing over to gate) We can't take 
him out ! We can't take him out ! W^on't they un- 
derstand ! Oh ! 

(One hears the crack of a hat. A groan goes up 
from crozvd. Hisses and cat-calls. Mona 
covers her face with her hands and sinks on 
box near gate. Skeets, zvith the aid of a cane, 
painfully crawls dozvn from porch.) 

Skeets. Don't you care, Miss Fitzgerald. Don't 
you care. We made a good fight. 

Sam. 'Tain't over yet. 'Tain't over yet. We got 
de last half, and we kin bat. 

Mona. Two to one. Two to one, and we only 
needed this one game ! 

(Miss Squibbs rushes in through gate. Her Jiair is 
disheveled, and her hat off. She looks wild- 
eyed.) 



THE GIRL AND THE PENNANT ^y 

Miss Squibbs. Mona, we're all to the bad! 
They've got us clinched ! 

Sam. {At gate) Farren's at bat. 

Miss Squibbs. (Wildly) Farren! Farren! 
Whack 'em, Farren! 

Mona. Squibbsy. Sit down. Be quiet. If you 
ever concentrate, concentrate now. 

(Miss Squibbs sits on overturned trunk. Slie 
clenches her hands and stares ahead of her and 
keeps muttering as game goes on. There is a 
breathless silence outside. One can hear the 
zn'hacks at balls and the umpire's call.) 
Umpire. Strike ! 
Mona. Oh ! 

Miss Squibbs. Get a move on, Farren I Get a 
move on ! (Silence) 
Umpire. Strike. 

Mona. Oh ! He hit at a bad one ! W' hy don't he 
wait him out? (Another silence) 

Skeets. Out ! Aw ! We can't hit that pitcher 
with a gattling gun ! 

Mona. W^ho's that? Who's up, Sam? 
Sam. McFarland. 

Mona. McFarland's good. McFarland's good. 
Miss Squibbs. (Still in a monotone) Get 'em, 
McFarland. Go to it I Go to it ! 

(Al Warren rushes in through outside gate.) 

Warren. Pitman's collapsed on the bench. 
(Loud shout outside) A safe hit! Bully for you, 
McFarland ! Eat 'em up ! 

Miss Squibbs. Eat 'em up, McFarland ! Eat 
'em alive ! 

(Punch rushes in through gate from street. He is 



78 THE GIRL AND THE PENNANT 

partially sobered up, but is wild zvith anger 
and excitement. He is tearing off his coat as he 
enters.) 

MoNA. Punch ! Punch ! 

Punch. Don't stop me! What's the score? 

MoNA. Two to one in favor of the Hornets. 
Oh, Punch, we're losing, we're losing. 

Punch. Hi! Sam! Sam! (He rushes into 
club-house, Sam after him) 

MoNA. (Rushing back to gate) Brown's at bat, 
isn't he? 

Warren. Yes, and he's just been hit with a 
pitched ball. 

(Another loud shout from field.) 

Warren. Two men on bases ! Two men on 
bases ! Hurray ! Hurray ! Eagle ! Eagle ! 

Miss Squibbs. Eagles ! Eagles ! Get 'em ! Eat 
'em alive! 

MoNA. What's the matter! What are they 
doing ? 

Warren. It's Pitman's turn to bat. He can't ! 
All in. Bohannan's talking to Cop. Cop's going to 
bat for Pitman. 

MoNA. Cop ! Cop ! Not Cop. 

Skeets. Cop's a good pinch hitter. You let him 
alone. (He drags himself closer to gate and sits on 

Miss Squibbs. Get behind it. Get behind it. 
Push it! Push it. (Miss Squibbs, as though 
hypnotized, gets up still muttering and goes to gate 
where all are standing tense. One can feel the 
silence of the crozvd) 

Umpire. Strike! 

(A lozv groan from outside and those at gate. 
Short silence.) 



THE GIRL AND THE PENNANT 79 

Jmpire. Ball ! 

(Short shout, and then silence.) 

Umpire. Strike ! 

{Another silence. One hears presently a terrible 
ivhack at hall. A long breathless Oh! is heard 
from people outside.) 

Warren. A hit, by thunder! A three-bagger! 
A three-bagger! {There is an. immediate roar out- 
side. Bigger noise than any time before. Shout- 
ing, hurrahing, yelling. Mona and Skeets hurrah 
and veil, and not knozving what they are doing hang 
about each other's necks. Warren rushes off to 
field. Miss Souirbs jumps on trunk, crozving and 
hiirrahhig and flapping her zvings like a rooster) 

Punch. {Coming out from club in uniform) 
What is it ? 

Mona. Game's over! Cop hit a three-bagger. 
We've won, Punch, we've won ! 

{By this time the shmits outside haz'c steadied into 
one continuous chant of " Reeves, Reeves, 
Copley Reeves! Reeves, Reeves, Copley 
Reeves!" Players appear at gate with Cop in 
their midst follozved by a crowd. Fellozvs are 
slapping him on the back, zuringing his hands. 
Laughing, crying, e.vnlting. Punch comes over 
to them, his eyes biasing and ploughing his zvay 
through crozvd. Just as Mona is about to con- 
gratulate Cop, he plants a blozi' square in Cop's 
face, zvhich sends him staggering back. Fellows 
seize Punch.) 

Mona. Punch ! Punch ! 

Punch. {Not paying any attention to her and 
struggling to get at Cop) You locked me up, didn't 



8o THE GIRL AND THE PENNANT 

you ! You wanted to queer me ! You wanted your 
chance. Well, you got it, you dog ! 

Cop. That's enough ! 

Punch. I'll show you up for what you are ! 
Welland told me. You paid twenty-five thousand 
to stay with the Eagles. You 

BoHANNAN. It's uot truc. He 

Cop. Not a word, Bohannan. 

Punch. No, no, not a word. Let him play the 
hero. He's done it all his life. He's queered me ; 
I know his game. He got my money and now he 
wants to get — {He points zvildly at Mona) 

(Cop springs toward him and strikes him. Men 
separate them as curtain descends.) 



ACT IV 



Scene : Living-room in Mona Fitzgerald's home. 
French zvindozvs at hack leading out to porch. 
They are open at rise, showing a veranda zvith 
the garden beyond. Door l. i)ito hallzvay. Door 
R. into another room. 

When curtain rises, Pitman, Wayne, 
Punch, Skeets and tzvo other players are dis- 
covered, sitting about the room. Pitman has a 
miniature copy of the pennant in silk in his 
hands. He is to present it to Mona.) 

Pitman. I can't make a speech, I tell you. I 
never could make no speech. 

Skeets. Gee ! And me wasting my gray-matter 
to write it out for you ! You knew it all right last 
night. 

Pitman. Let Punch do it. 

Punch. No, thank you. 



THE GIRL AND THE PENNANT 8i 

Skeets. Go on, say it over. {He takes paper 
from pocket) I've got the prompt-book. 

Pitman. (Rising) Miss Fitzgerald, in the name 
of the Eagles, I present you this fac — fac — What's 
the word ? 

Skeets. Facsimile of the pennant. 

Pitman. Ain't there no easier word? 

Skeets. Gee ! Didn't we go through the dic- 
tionary last night ? No, there isn't any other word ! 
Fac — fact — it's a fact, we present it. Simie Simian 
monkey. Monkeys copy things ! We've copied the 
pennant. 

Pitman. I don't think that's complimentary to 
the team. 

Skeets. It's only to make it easy. An associa- 
tion of ideas, can't you see that? 

Pitman. You can't associate ideas when you ain't 
got none. Besides it ain't a fac-what-you-call it. 
It's a miniatoor ! 

Skeets. Well, do it your own way, then. I'm 
sick of the whole thing. 

Pitman. We ought to have sent it to her by 
parcel post, or slipped it under her door at night. 
Gimme that paper. (He takes paper from Skeets 
and sits down studying it) 

Wayne. It's my opinion that Cop should have 
been asked to come with us to-day. 

Fellows. Cop? Cop? 

Wayne. Yes, Cop. Punch's pitching won the 
World Series, perhaps, but Cop's three-bagger gave 
us the pennant! 

Punch. You take pretty good care to rub that 
in! 

Pitman. I don't think Miss Fitzgerald would 
have seen us if we'd brought Cop along. She ain't 
got a bit of use for him. Miss Squibbs told me 
that. 



82 THE GIRL AND THE PENNANT 

Punch. (Rising and going tozvard "ivindozvs) 

I wish you fellows would leave that subject alone. 
Fm sick of it. 

Pitman. (Studying paper) Facsimile — fac-si- 

mile — Pennant 

(Door left opens and IvIona enters. All of the 
fellozvs rise. Pitman puts paper and pennant 
behind him.) 

MoNA. Good-afternoon. 
All. Good-afternoon. 

(There is a silence. Everyone looks tozvard 
Pitman, who begins to edge to door.) 

MoNA. Fm — Fm very glad to see you. 

All. Thank you. 

Skeets. Pitman wants to— he's got something 
to say to you. 

Pitman. No, I ain't. That is — Well, here goes. 
Miss Fitzgerald, the Eagles have been doing some 
monkey-business, copying the pennant, in real silk 
and our names all written on it. Every fellow put 
up two bucks and — here it is. 

(Men groan.) 

Mona. (Taking pennant from Pitman) Oh! 
It's beautiful. It'll mean more to me than the real 
pennant you won for me! I'll put it here. If he 
knows, it will make him very happy. (She goes 
over to ivhere her uncle's picture is on ivall and 
drapes the pennant over it. Skeets kicks Pitman) 

Pitman. Old Fitz would'a known I couldn't 
make a speech. 

Mona. I want to see all the men : I have invited 
them here this afternoon. I realize that you six men 



THE GIRL AND THE PENNANT 83 

did the big work, but the others backed you up and 
I want to thank them — and to — to say good-bye. 

JMen. Good-bye? 

MoNA. Yes, I'm going out of base-ball. I'm 
going to sell the club, but I'll never forget this year 
and the loyal fight you all made for me — and for the 
pennant ! 

Pitman. Look here, now, Miss Fitzgerald. You 
mustn't let all this here talk scare you out of base- 
ball. It'll all blow over. 'Tain't nothing to it, any- 
way. 'Specially, nothing against you. Everybody 
knows you've got his spirit. {Pointing to picture 
of Fitzgerald) You're a dead game sport you are, 
and all for fair play. 

Wayne. Yes, nobody blames you. 

MoNA. It isn't that— I 

Maid. {Entering at door l.) The gentlemen is 
in the library, miss. 

Mona. The president of the League has asked 
for an interview with me this morning. I — you'll 
excuse me. Don't go — I — I — want to see you all 
again. {She goes to door l. and leaves) 

Skeets. Gee! What do you know about that? 
What do they want to bother her for? {He turns 
to Punch) It's all your fault, you squealer! 

Punch. That'll be enough from you. {He goes 
through zvindow on to porch and dozvn to garden) 

Skeets. It's all right for him to put on his high 
and mighty airs, but if he hadn't made that break in 
the club-house, we could be enjoying the pennant 
instead of being half ashamc^d of having it. 

Wayne. I'm not ashamed of anything. We did 
our work. It's a matter entirely between Bohannan 
and the commission. It doesn't concern us at all. 

Pitman. Well, all the same, Bohannan ought to 
clear himself. No manager's got a right to take 
money from a player, like Punch said he took it 



84 THE GIRL AND THE PENNANT 

from Cop. (As they talk; they have been going to- 
ward zvindozvs, and they go out onto porch) 

Maid. {Opening door l., and shozving in Al 
Warren. Maid takes hat and stick from him at 
door) Miss Fitzgerald is busy at present. Will 
you wait? 

Warren. Oh, yes. I'll wait. I say, pretty 
one, tip me off. Miss Fitzgerald's with the president 
of the National League, isn't she? 

Maid. I couldn't say, sir. {She goes out. 
Warren zvaits a moment, tip-toes over to door. 
Opens it a trifle and listens. Closes it suddenly 
and runs over to piano, zvhere he sits on stool, idly 
strumming. Maid opens door and shozvs Cop iyi) 

Cop. Will you tell Miss Fitzgerald that Mr. 
Reeves is here? 

Maid. She said she wasn't to be disturbed. 

Cop. I've been sent for. It'll be all right. 

Maid. Very well, sir. {She goes out) 

Warren. (Rising from behind piano) Oh! So 
the inquisition is beginning? 

Cop. Usually does, when you come around 
doesn't it? 

Warren. I say. Cop : give me the inside story. 
I'll treat you right on it. 

Cop. Oh, quit your noise. 

Warren. I've been camping outside Bohannan's 
door. He's sick in bed. 

Cop. Maybe that's the reason. 

Warren. You fellows ought to loosen up. 
People saying all sorts of things. Even accusing 
you of getting Punch soused. You owe it to your- 
self. 

Cop. Well, I'm an easy creditor. 

Maid. (Going to door again zvith Warren's hat 
and stick in her hand) Miss Fitzgerald says will 
Mr. Reeves please wait? And she asked me to say 



THE GIRL AND THE PENNANT 85 

that she's sorry, but she can't see Mr. Warren to- 
day. 

Cop. Too bad, too bad, Warren. There's your 
hat. What's your hurry? 

Warren. I'll cook you up, all right. You'll get 
a roast. 

Cop. My dear fellow, I'm done to a fine brown 
now, all ready to serve. Go to it. (Warren 
snatches his hat angrily from Maid and exits. Cop 
goes over, looks at pennant and fingers it lovingly) 

(Skeets and Alice come up on porch from out- 
side . ) 

Alice. Yes, I've got to go home next week. It's 
been a heavenly summer. 

Skeets. Going home ! Gee ! 

Alice. I'll have to get an extra trunk for my 
souvenirs. Oh, Skeets, I've got a divine idea : let's 
go out to the Park this afternoon and see if Sam 
will give me one of those little trunks he packs his 
balls in. 1 think it would be too stunning for words. 
With the name of the Eagles on and all. 

Skeets. Say, you've got Tammany Hall stung 
for graft. (They cross and sit in one of those high- 
back basket chairs, which completely hides them 
from audience) 

(Maid opens door and shows in Welland.) 

Welland. No, thanks, I'll hang on to my hat. 
I'm expected. Just say that Henry Welland is here. 

Maid. Yes, sir. {She goes out) 

Welland. (Seeing Cop) Ha! Ha! Ha! 

Cop. W^hat are you doing? Handing yourself a 
laugh for losing the pennant ? 

Welland. Oh, no ! That's a small incident in 



86 THE GIRL AND THE PENNANT 

my busy life. Just anticipating the humor of the 
coming trial. 

Cop. Well that's your privilege, as chief witness 
for the prosecution. 

Welland. Oh, come, now. Come, now. Don't 
be testy. I'm not in this thing from any hard feel- 
ing. I'm a base-ball man, I am. I'm for clean sport. 
If Bohannan's been up to tricks, it's up to us to 
expose him. 

Cop. Just what charges do you make ? 

Welland. I? Oh, I don't make any charges. 
Good Lord, no ! Surprise of my life when I was 
asked to come here for a private talk before the 
thing goes before the commission. I have nothing 
to say, absolutely nothing. 

Cop. You said it all in your interview in The 
Herald, didn't you? When you accused Bohannan 
of trying to queer the Eagles in order to buy it 
cheap for Mike Freeman? 

W^ELLAND. Ha ! Ha ! Laughed myself almost 
blind over that interview. Those newspaper men 
can take the most innocent statement and cook it up 
to sound like a national conspiracy. Anyway, that's 
not the point of this inquiry, I believe. All we want 
to know is why Bohannan accepted money from a 
player to let him stay with the team. That's not 
good base-ball ethics, you know. That'd demoralise 
any sport. We can't stand for things like that. 

Cop. Of course not. {He takes a large zvallet 
from his pocket and, taking several papers from it, 
arranges them on the mantel-piece, leaning them 
against the zvall. Gases at them admiringly. Walks 
up and down pointing to each one in turn and 
muttering) Deed. Check. Confession. Letter. 

(Welland looks at him for a moment.) 

Welland. Say, you for the dippy house ! 
What's the matter with you? 



THE GIRL AND THE PENNANT 87 

Cop. Ssh! I'm rehearsing Bohannan's defence. 
Poor fellow's all in. Someone's got to look out 
for him. 

Welland. Bohannan's defence? 

Cop. Do you know, I'm getting nervous ! You're 
a good-natured man. Tip me off. What do you 
think he'll ask me first ? 

Welland. Oh, that's easy. He'll want to know 
why you handed over that twenty-five thousand to 
Bohannan. 

Cop. Oh, yes, that's easy. Here's the deed to a 
parcel of United Realty that I bought from 
Bohannan two weeks ago. Pure business transac- 
tion. Nothing criminal in that, is there? 

Welland. That's where you put Bohannan on 
the Tanglefoot. Where'd he get twenty-five thou- 
sand to buy United Realty last April? Everybody 
knows he was stone broke. Wife cleaned him out 
v/hen she cut off with Forbes. 

Cop. How'd you know he bought that parcel last 
April ? 

W^ELLAND. I — er — didn't know. I surmised it. 

Cop. You've got wonderful intuition. He did 
buy it last April, and here's your check, endorsed by 
him, with which he paid for it. 

W'elland. My — my check ! W^hat are you try- 
ing to give me ? 

Cop. You know, you ought to be careful about 
your vouchers. If you'd looked 'em over, you'd 
realize that this check never went through. It's been 
taking a rest cure in my safe all summer. Don't 
touch it. That's exhibit two. 

Welland. You've got no right 

Cop. Wait a minute. Exhibit three : a carbon 
copy of an interview you had with Bohannan four 
weeks ago, v/hen he wanted to be white. You knov>^, 
you shouldn't have discharged that stenographer. 
I nabbed him up and 



88 THE GIRL AND THE PENNANT 

Welland. You think you're smart, don't you? 

Cop. No. Only lucky. That's all the direct 
evidence I've been able to collect. Now, as to cir- 
cumstantial. Here's your note to Punch on the 
night before the last game with the Hornets. Then 
there's the big money you lost on bets with that 
Wall Street crowd. There's your record on the 
French turf, where you were ruled off for 

Welland. That's enough! 

Cop. Think so? 

Welland. I know when I'm beaten. What do 
you want ? 

Cop. I want you to do a little mathematical stunt. 

Welland. Eh? How much? 

Cop. Find the shortest distance between here and 
the front gate. Multiply that by a sprint to New 
York. Subtract yourself from base-ball for good, 
add a little trip to Europe, and put it all to the 
credit of American sport in general. 

Welland. You're on. (Moves toivard windozv) 
Say, young fellow, if I had time I'd stop at Burns' 
office and tell him he needs you in his business. 

Cop. Oh, don't bother. Burns and I are old 
friends. It was he who got me your record. 

Welland. Well, I'm damned ! 

Cop. Eternally. Good-bye. Bunn Voyage ! 
(Welland goes hastily out at zvindozu and makes 
tracks for front gate. Cop takes papers from 
mantel. Puts deed in his •wallet. Tzvists the other 
papers together and lighting a match, zvatches them 
burn, throzving the remains into grate) 

Alice. {From basket chair) Oh, Skeets ! You 
haven't shaved to-day. 

Skeets. (Rising from chair and pulling Alice 
up after him) You mean it? You'll sign with me 
for life with a reserve clause ! 

Alice. I don't know. What's a reserve clause ? 

Skeets. It's a binder. (He puts his arm around 



THE GIRL AND THE PENNANT 89 

her and they go doivn into garden, as Punch comes 
up on porch) Hi, Punch, it's all over but the shout- 
ing! {He and Alice exit. Punch looks after 
them and then conies into room. Sees Cop) 

Punch. Oh — ! {He turns to go out again) 

Cop. Wait a minute: I want to talk to you. 

Punch. I haven't got anything to say to you. 

Cop. But I — I've a few things to say to you. 
Why don't you come back to the apartment, Punch, 
and let things go on as they were ? 

Punch. I told you I wanted nothing more to do 
with you. You had no right to pay Bohannan to 
stay with the Eagles. 

Cop. I didn't pay to stay with the Eagles. I've 
told you that. 

Punch. Welland saw your check, you don't deny 
that? 

Cop. No. 

Punch. It's my money as much as yours. You 
only had it in trust. I — I know I've lost out this 
time, but I've had my lesson, and six months from 
now you'll give me an accounting of every penny 
you've spent, or I'll know why. 

Cop. I'm going to give you an accounting next 
week when we divide the estate. You'll find you 
haven't lost anything by my deal with Bohannan. 

Punch. Next week? 

Cop. Surely you realize that the six months are 
up to-day. 

Punch. But — but 

Cop. She said for you to come for her answer 
when the six months were up. I want you to be 
able to — to go to her. 

Punch. You mean — you mean you won't tell? 

Cop. I mean there's nothing to tell. 

Punch. But how are you going to account for 
locking me up? 

Cop. That's a matter between you and me, old 



90 THE GIRL AND THE PENNANT 

man. {He puts his hand on Punch's shoulder) 

Punch. {Shaking his hand off) I don't want 
you to swear to any lie for me. {He sits in chair) 

Cop. It won't be any lie. I haven't seen yon that 
way for six months. 

Punch. {Doggedly) You should have seen me. 
You should have gotten me straightened up for the 
game. You've done it before. What did you want 
to lock me up for, and go off and make that grand- 
stand play? You figured it all out, you and 
Bohannan — you can't tell me. You wanted to queer 
me, I don't care what you say. You wanted to 
queer me. 

Cop. I don't think you mean that. Punch. 

Punch. I do mean it. It's been the same way all 
my life. You've always been the model. It's been 
damned easy for you. You had nothing to fight 
against. 

Cop. You remember our mother, don't you? 
(Punch makes an impatient gesture) I was older 
than you, and she — she talked to me a lot before — 
before she went away. She had a horror of — of — 
She made me promise I'd never touch anything. 
It wasn't easy. When I was at college I wanted 
to hit it up. I used to leave the fellows and walk 
for miles to — to down it. I understand. I know 
the fight you've been putting up. It's been a good 
one. I've been with you every foot of the way. 

Punch. You? 

Cop. Father didn't make that will to punish you. 
He only asked six months. He wanted to give you 
a foot-hold. You've got that. You can't slip back 
now. I'm pulling for you — Oh, I can't gush — but 
damn it ! you're all the family I've got, Punch, and — 
(Punch breaks doivn and puts his face in his hands, 
shaking with sobs) Don't do that, old man. I — I 
only didn't want you to think I'd double-cross you. 



THE GIRL AND THE PENNANT 91 

Punch. (Rising) Cop, you're white and I'm — 

I'm 

Cop. Aw, forget it! (Puts out his hand) 

(Punch takes Cop's hand and zvrings it; then 
breaks obntptly ozvay and goes up to zvindow to 
recover himself. Enter Mona.) 

MoNA. Oh! 

Cop. Just been congratulating Punch, Miss Fitz- 
gerald. You know, he's just finished his six months 
at hard labor. Likes it so well he's sentenced him- 
self for life. 

MoNA. Oh, Punch, I'm so glad ! Mr. Reeves, 
they want to see you in the library. They're talk- 
ing of having Bohannan up before the Commission. 
If you can say anything — my uncle was so fond of 
Bohannan and 

Cop. Don't worry, Miss Fitzgerald, I can clear 
him in three words. (He goes out) 

MoNA. I'm awfully glad, Punch, that Cop says 
you've won out. 

Punch. I'm going to — I'm going to be different 
from now on — Mona. You told me 

MoNA. Don't say it ! Don't ! Oh, I don't know 
what you think of me, but it's all been a mistake. 
I told you to come to me when the six months were 
up, but — but now, I can't give you the answer you 
want. 

Punch. Why? 

MoNA. I — I don't care for you that way: I — 
I'm sorry. 

Punch. It was that scene at the club-house. 

MoNA. No — no before that. Something — = 
changed — here. 

Punch. There's someone else? 

Mona. No ! No ! There's no one, no one ! 

Punch. There's no use in fighting, then ! I may 



92 THE GIRL AND THE PENNANT 

as well go to the dogs and be done with it. Very- 
well ! {He turns to zvindozv) 

MoNA. Punch ! 

Punch. Fm sorry I said that. I didn't mean it. 
I — Fve seen a man to-day, and I — Fm going to try- 
to be one, too. Good-bye. {He goes hastily out at 
zvindozv) 

(MoNA sinks on chair by table and burying her face 
in her arms, begins to sob. Pitman comes up 
on porch zvith Miss Squibbs.) 

PiTMAK. {Looking off l.) Well, I swan! 
Look-a there. 

{At the sound of their voices, Mona hastily dries 
her tears.) 

Miss Squibbs. Who's that man with Copley- 
Reeves? 

Pitman. Fll be goshed-danged if it ain't the 
President himself arm in arm with Cop, as sociable 
as kin be ! 

Mona. {Running to zvindozv) Oh, Mr. Pitman ! 
Run after them, tell Mr. Reeves I want to see him. 

Pitman. Sure, Ma'am. Come along, Elvira. 
Run along with me. 

Miss Squibbs. Run ! My running days are over. 

Pitman. Sure they are. You've caught up ! 
{With a zvink and a grin he runs hastily off porch) 

(Miss Squibbs comes into room.) 

Mona. Squibbsy, he called you Elvira ! 
Miss Squibbs. Well, there's no law against it, is 
there ? 

Mona. You don't mean, you — you and Pitman? 



THE GIRL AND THE PENNANT 93 

Miss Squibbs. Well, you're going out of base- 
ball just when I'm getting interested. 

MoNA. But Pitman, oh, Squibbsy, he hasn't any 
education. 

Miss Squibbs. He's got a good bank account, 
and I think I'd love to travel about with the team. 

MoNA. But he won't be able to play much longer. 

Miss Squibbs. Oh, I don't know. With me 
nursing his wing ! 

(Pitman appears at back aud whistles a call.) 

Pitman. " Whoo — whoo." 

Miss Squibbs. {Pursing up her lips in answer) 
"Whoo — whoo." {With a grin and perky little 
skip she joins Pitman outside, as Cop conies up on 
porch. Pitman and Miss Squibbs go off. Cop 
comes into room) 

MoNA. I want to know — the result of your inter- 
view ? 

Cop. Oh, it's all right. It's all right for 
Bohannan. 

MoNA. You were going away without telling 
me, and I was so anxious. 

Cop. Well, I thought you'd be busy. You and 
Punch — I thought 

MoNA. Punch is gone. 

Cop. Making a streak for Tiffany's, eh? 

MoNA. No ! No ! 

Cop. Oh, that was cheeky of me. Sort of 
brotherly cheek, you understand. 

MoNA. Mr. Reeves, Skeets told Alice about that 
night before the game with the Hornets : why — 
why you locked Punch up. 

Cop. Skeets told ! 

MoNA. In confidence. He told it in confidence. 
He didn't tell anyone but us ! 



94 THE GIRL AND THE PENNANT 

Cop. And you — you've turned Punch down on 
account of that ! 

MoNA. No — no — it wasn't for that! 

Cop. He was dragged into that. It was only a 
little party. All the fellows do the same. You 
know, the women won't let fellows like Punch alone. 
He's got to be polite to 'em. It wasn't from any 
lack of loyalty to you. He'll settle down. He's got 
it in him. 

MoNA. I know ! I know ! But I don't care for 
Punch in that way ! 

Cop. You don't care for Pitman ! But you must, 
you've got to ! 

MoNA. Mr. Reeves, you will allow me to judge 
for myself in a matter of this kind ! 

Cop. Oh, of course I — just as you say! 

MoNA. I want to say good-bye. I shall perhaps 
not see you again: I'm going abroad. 

Cop. You're — you're going away? 

MoNA. Yes — I — Almost at once — good-bye ! 
(She puts out her hand, he takes it. Looks at her 
hungrily and then turning, takes his hat and goes 
toward zvindozv) 

Cop. Good-bye ! 

MoNA. Wait! I'm going to see Mr. Bohannan 
this afternoon. He'll be anxious to know how you 
cleared him about — about accepting that money 
from you. 

Cop. He didn't accept any money from me. He 
has some real estate that I wanted. I bought it, 
that was all. I'll show you the deed. 

MoNA. Oh, no, no! I believe you. 

Cop. I'd like you to see it. (He takes out 
wallet and in extracting deed from it, pulls out 
Mona's lace handkerchief, which falls on table) 

MoNA. Oh ! Why, this is my handkerchief. 
The lace one I lost at the garden party. 

Cop. Er — er — is it? Why — er — that's odd. 



MD 3. 9 



THE GIRL AND THE PENNANT 95 

I^.IoNA. Yes, it is odd ! But not half so odd as 
you. Why did you keep it? 

Cop. Well, you see, I just kept it because it was 
yours, because I — I loved you. (Mona fiirns from 
him) There, I've done it. I didn't mean to insult 
you like that. Forgive me. 

Mona. I can't. {She turns slightly to him) 
Why didn't you tell me before ? 

Cop. Eh? 

JNIoNA. Oh, Cop ! Have I got to propose to you ! 

Cop. Yes ! No ! Mona, you don't mean it ! 

MoNA. I'm faint. If you don't catch me, I'll 
fall. 

(Cop chisps her in his arms. Base-ball men come up 
on porch.) 

Wayne. Miss Fitzgerald, we're all here. 

(MoNA and Cop pay no attention.) 

Skeets. Ssh! Skidoo! 

(All tiptoe off porch as curtain descends.) 







4^ /-.^ 





^^--^ 



4 o^ 



^ . ^v 





IBS BROS. ■' '> V s\ •'4, CV .0 » 

RY BINDING ,• .iV /-. *^ jS^fflWfes %- *P j, xO' ► 



Hk .t* .._.-.. -^ . ... . . a\ 



